{"1": {"fulltext": "Hvve", "height": "4970", "width": "3451", "jp2-path": "elementaryanalys00barb_0001.jp2"}, "2": {"fulltext": "LIBRARY OF CONGRESS\\n027 249 621 3\\nHollinger Corp.\\npH8.5", "height": "4459", "width": "2569", "jp2-path": "elementaryanalys00barb_0002.jp2"}, "3": {"fulltext": "PN 4145\\n.B3\\nCopy 2", "height": "4459", "width": "2569", "jp2-path": "elementaryanalys00barb_0003.jp2"}, "4": {"fulltext": "Glass _?-H.A-.\\\\^!.\\nBook_\\nCrO* M", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0004.jp2"}, "5": {"fulltext": "", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0005.jp2"}, "6": {"fulltext": "", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0006.jp2"}, "7": {"fulltext": "", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0007.jp2"}, "8": {"fulltext": "", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0008.jp2"}, "9": {"fulltext": "", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0009.jp2"}, "10": {"fulltext": "", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0010.jp2"}, "11": {"fulltext": "ELEMENTARY ANALYSIS\\nOF\\nS.02VIE YRLNClTAli THEXO.ALEXA\\nORAL LANGUAGE,\\nAS CONTRADISTINGUISHED FROM GRAPHIC COMPOSITION;\\nWITH A VIEW TO THE IMPROVEMENT OF\\nPUBLIC SPEAKING\\nAND\\nBY DR. JONATHAN BARBER.\\nWASHINGTON CITY:\\nfRINTED BT WILLIAM COOPEB, JtW.\\n1824.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0011.jp2"}, "12": {"fulltext": "r\\nBE\\nDistrict of Columbia, to wit:\\nIT REMEMBERED, that on the twenty-first\\nday of May, in the year of our Lord one thousand\\neight hundred and twenty-four, and of the inde-\\npendence of the United States of America, the for-\\nty-eighth, Dr. Jonathan Barber, of the said Dis-\\ntrict, hath deposited in the office of the Clerk of\\nthe District Court for the District of Columbia, the title of a\\nBook, the right whereof he claims as Author, in the words\\nfollowing, to wit\\nElementary Analysis of some Principal Phenomena of Oral\\nLanguage, as contradistinguished from Graphic Composi-\\ntion: with a view to the improvement of Public Speaking\\nand Reading.\\nIn conformity to the act of Congress of the United States, en-\\ntitled An act for the encouragement of learning, by securing\\nthe copies of maps, charts, and books, to the authors and pro-\\nprietors of such copies during the times therein mentioned\\nand, also, to the act entitled An act supplementary to an act\\nentitled An act for the encouragement of learning, by secu-\\nring the copies of maps, charts, and books, to the authors and\\nproprietors of such copies, dining the times tberein mention-\\ned. And extending the benefits thereof to the arts of design-\\ning, engraving, and etching historical and other prints.\\nIn testimony whereof, I have hereunto set my hand, and\\naffixed the public seal of my office, the day and year. aforesaid.\\nEDMUND J. LEE,\\nClerk of the District Court of the District of Columbia", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0012.jp2"}, "13": {"fulltext": "FEtEYACE\\n\u00e2\u0096\u00bao\u00c2\u00ae\u00c2\u00ae\u00c2\u00ae^^\u00c2\u00ae\u00c2\u00ae\u00c2\u00ae\u00c2\u00ab\\nThe following pages were written, principally, for the\\nbenefit of those who have attended, or may, hereafter, attend,\\nmy private classes. I have treated the subject of the ele-\\nments of speech and that of cadence with some degree of\\namplitude because the principles involved in those subjects\\narc the most important, and of most difficult application, in\\nthe practice of delivery. They are those moreover, which\\nconstitute the basis of the science; and my observations upon\\nthem will, I trust, be found useful beyond the circles which\\nmay have opportunities of receiving my oral explanations.\\nI am mistaken if I have not sufficiently explained myself\\non Cadence to enable the analytical and attentive reader to ac-\\nquire and perfect the habit of reading in musical time. I have\\nnot however pointed out in a minute manner the violations of\\nCadence. Those violations become manifest in the first read-\\ning lesson of every person uninstructed in the science; and\\neach succeeding effort affords illustrations of the peculiar er-\\nrors of oral delivery, and of the progressive advancement to\\ncorrectness, as those errors are illustrated and corrected by\\nthe principles of the science. Had I attempted more than I\\nhave done, I should only have rendered myself liable to mis-\\napprehension by those who cannot consult my meaning but\\nthrough the medium of written words. In order that this\\nscience should be comprehended fully, that its principles\\nshould be felt and practically applied, oral demonstra-\\ntion in the majority of instances is indispensable. On this\\nsubject it is in vain to disguise the truth. The difficulty of\\nconveying to the mind new, or, hitherto, unrecognised deftiii-", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0013.jp2"}, "14": {"fulltext": "Preface.\\ntions, by the mere dead letter of the page alone without the\\naccompaniment of oral or sensible demonstration, must be\\nsufficiently obvious to every one who is at all in the habit of\\nphilosophical analysis and though I hope that in this treatise\\nthe same term of art is never applied to signify two different\\nideas, nor two different terms to indicate the same identical\\nphenomenon, the mind of that reader must have been little\\ninfected by the confused language of rhythmical criticism, who\\nis not now and then in danger of confounding distinctions that\\nare of the first importance to the due comprehension of the\\nsubject, and of seeing occasionally in my words, a very differ-\\nent meaning from that which they are intended to convey. A\\nperson who has had no opportunity of disentangling himself\\nfrom the perplexity of erroneous definitions of accent; who\\nhas never been practically taught to distinguish between acute\\nand heavy, or heavy and strong, between loud and high, be-\\ntween poise and quantity, or who has no conception of the\\nword tune, as applied to speech, but as denoting an offensive\\npeculiarity, must not be suprised if something more than a\\nsingle reading; something more than the mute unresponsive\\npage should occasionally be necessary for the complete illus-\\ntration of a system of rhythmus, not founded on tradition, but\\nupon analytical observation and practical demonstration. I\\nmay venture to assert, however, that no scholar, and I use\\nthe term in its collegiate sense, has ever listened to the de-\\nmonstrations of which the science is susceptible without con-\\nviction my private pupils never fail to acknowledge my dis-\\ntinctions and to enter into the spirit of the system. This is\\nthe natural order of things, where system is founded in de-\\nmonstration, and susceptible of being applied to practical im-\\nprovement. When musical time is ascertained by the time\\nbeater, and ensured in actual reading; by a regular notation\\nor scoring, where the quantity, not of the cadence only but of", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0014.jp2"}, "15": {"fulltext": "Preface.\\nevery syllable and element composing it is pointed out, when\\na violation of the music and the emphasis, is shewn to depend\\nupon not giving to particular elements their due quantity,\\nwhen it is felt that unless the liquids sustain their due prepon-\\nderance of time and inflection, the cadence is sacrificed, and\\na tuneless cluttering, or tiresome drawl is th econseqm\\nwhen these respective points, and others are illustrated, one\\nby one, and pointed out by a reference to those parts of a line\\nor passage, where an error occurs, the most sceptical must be\\nconvinced, and such are the results which have re varied the\\nexertions I have made in conveying instruction ill my\\nprivate lectures, accompanied, as they always are, by appr\\npriate readings.\\nBut as it regards the object of practical or imitative\\nvance, and of making that imitative observance, g^ow o\\nelementary analysis, I must refer to private tuition\\nthe most certain and efficacious means of improvement: d-\\nthough it is by no means true that the diligent and the ardent\\nmay not, and often do not, surmount all the impediments\\nwhich lie in the way between elementary analysis and practi-\\ncal art.\\nThe energy to effect this must be found in the mind of the\\nIndividual. It must depend on that strong sense of his own\\nomnipotence in vanquishing difficulties which, figuratively\\nspeaking, can make the blind penetrating and give to the\\nmute a tongue of fire: and it is because an oratorical educa-\\ntion in the midst of freedom is most favorable to the excite-\\nment of mental power, and to a trust in its exertions that\\nsuch an education is peculiarly favorable to all that is extra-\\nordinary in intellectual and moral atcheivement. Hence the\\ntwo nations, who carried social speech to its highest perfection\\nhave transcended in the dignity, comprehension and universal", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0015.jp2"}, "16": {"fulltext": "Preface.\\naccomplishment of individual character, our own more\\ninformed and philosophical times.\\nI have, now only to adt(l that having been obliged to pre-\\npare the following little work with haste and in the midst of\\nfrequent interruptions, I ain aware it must have imperfec-\\ntioiis. It is perhaps too milch characterized in its composi-\\ntion by those habits of oral and spontaneous illustration to\\nwhich I am more accustomed than to the conveyance of in-\\nstruction in a written form. To remove these, would require\\na delay incompatible with the requisitions of those to whom, as\\nhaving honored me by an attendance on my lectures, I am\\nbound to supply this manual. As these blemishes too, relate\\nmore to manner than matter, I shall console myself by reflect-\\ning, that I have announced some important elementary prin-\\nciples essential to the acquisition of the first and most simple\\nrequisites of correct and easy speech. With regard to omis-\\nsion, what this book does not contain will be far better orally,\\ntlnn graphically illustrated. The wide circulation of Mr.\\nWalker s work on elocution, compared with the little practi-\\ncal good it has effected, is proof that the graces of delivery\\ncan only be taught viva voce: and being reminded of his work\\nI will conclude this preface with a sentiment it contains. A\\nfirst essay on an untreated subject can scarcely be exempt\\nfrom inaccuracies and obscurity is the natural attendant on\\nnovelty but if unquestionable advantages are the result of\\nthis novelty, the candid and judicious reader who understands\\nthe difficulty of the undertaking, will not deem what is pre-\\nliminary arid imperfect, unworthy of his attention.\\nJ. B.", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0016.jp2"}, "17": {"fulltext": "ELEMENTS\\nOF THE\\nSCIENCE AND PRACTICE OF\\nELOCUTION,\\nUirmiJ\\\\U3S AXD COMPOSITION.\\nANALYSIS, AXIOMS AND DEFINITIONS.\\nThe Theory of Speech is an important branch\\nof Natural Philosophy. A correct theory is an es-\\nsential preliminary to practical improvement. It can\\nresult only from a consideration of the laws which\\nregulate the action of the organs of speech, and that\\nof the corresponding principles of harmonic percep-\\ntion. Consequently, the theory of speech must have\\nfor its basis, the Sciences of Physiology, and Music.\\nThe principles of a correct and comprehensive theo-\\nry, will be applicable to all the purposes of instruction\\nin the art of delivery, from the treatment of impedi-\\nments, of whatever description, to the ease and ameni-\\nty of conversational utterance, and the higher energies\\nand more commanding harmonies of public oratory.\\nThe Objects of the Speaker are, to command at-\\ntention, to communicate ideas, and to impart satis-\\nfaction by the manner of that communication. These\\nrespective objects, when properly attended to, have a\\nreciprocal tendency to assist each other. The quali-\\nties indispensable to their joint attainment are, distinct-\\nness, harmony, and expressive variety of intonation.\\nDefinition. Perfect speech consists in a mode of\\nutterance that combines the most audible distinctness\\nof enimciative expression, with the most uninterrupted\\nflow of vocal sound.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0017.jp2"}, "18": {"fulltext": "4\\nApparatus. Two classes of Organs.\\nI. VOCAL ORGANS\u00e2\u0080\u0094 those portions of the or-\\nganic system employed in the production, admeasure-\\nment, and variation of voluntary, tuneable sounds.\\nCommon to man and to the lower animals.\\nII. ENUNCIATIVE ORGANS.\u00e2\u0080\u0094 those portions,\\nand members of the mouth, by which we superadd to\\nthe tuneable impulses of sound, the phenomena of lite-\\nral and verbal utterance. Peculiar to the human spe-\\ncies.\\nTheory of Sounds. The sensation of sound is an\\neffect of vibrations, originating in some stroke or im-\\npulse given to a vibratory substance, and communicat-\\ned from that substance, by pulses of the surrounding\\natmosphere, to the organs of hearing.\\nVocal Sounds are the ultimate effects of forcible\\nimpulses of air, driven through the resisting and vi-\\nbratory organs of the throat.\\nThe Larynx is the primary organ of vocal im-\\npulse in Man. Its vibrations are the consequence of\\nvoluntary muscular impulsion of its fibres against the\\nair, in its passage from the lungs to the mouth. By\\nthe action and reaction of the Glottis, which are\\nsubservient to volition, sounds can be measured into\\ndistinct proportions, so as to be subject to musical\\ntime, in man, and in the other vocal tribes; and in the\\nformer to the farther superaddition of syllabic utter-\\nance, or speech. In the correct utterance of speech,\\nthat element of tune, called time, prevails equally as\\nin song. In human speech, an utterance, by metrical\\ncadences, is indispensable to an undisturbed respiration,\\nto force and harmony of delivery.\\nThe voluntary action of the glottis, determines by\\nthe force and momentum of its pulsations, the degree\\nof power or force in the original syllabic impulses of", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0018.jp2"}, "19": {"fulltext": "the human voice, and the decrees of rapidity or shw-\\nness, of continuous! implication, ot distinctness of t\u00c2\u00ab\\nimpulses. Us inevitable alternations of action and reac-\\ntion, of Pulsation and Remission, produce the marked\\nvarieties of heavy and light, in the successive sounds\\nof human utterance: or in other words, the necessary\\nrecurrence, at measured intervtils, of what have been,\\nerroneously, termed accented and unaccented syllables.\\nThe phenomena of such recurrence constituted the\\nThesis and Arsis of the Greeks, and are the primary\\nconstituents of Cadence and, consequently, of Rn\\nmi s; whether poetic or prosaic. (See definition of\\nCadence and Rhythmus.)\\nEnunciative Organs or organs of verbal utter-\\nance. The phenomena of speech are accomplished by\\nthe consentaneous action of the vocal and enunciatice\\norgans. Has this practical distinction of organs been\\nsufficiently attended to Independently of the lower\\njaw (whose motions contribute, though they are not\\nindispensable to, distinct utterance,) and the nostrils,\\n(which form the sound assigned to ng,J the enunci-\\native organs are five in number. Three of them are\\nin pairs. Three of them are active; namely, the tongue,\\nthe uvula, and the lips: two are passive, namely, the\\nfront teeth and the gums, (particularly the upper,) into\\nwhich those teeth are inserted, having the Elements\\nformed upon them by the action of the organs. The\\ndescription of the attributes and functions of these, re-\\nspectively, includes the entire anatomy of the Ele-\\nments of verbal utterance. Descriptions of the po-\\nsitions of organs, adapted to the formation of the re-\\nspective Elements, are to be received with cau-\\ntion, because different formations of mouth require\\ncorresponding differences of position.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0019.jp2"}, "20": {"fulltext": "What is an ELEMENT An Element is one sim-\\nple enunciated sound, distinguishable by the ear from\\nevery other. One element, only, can be sounded at\\nonce. There are no utterable diphthongs or triphthongs.\\nBee an original, learned and very ingenious work\\nentitled Cadmus, by Dr. Thornton. The first re-\\nquisite of distinct and intelligible delivery, is the ac-\\ncurate formation of the respective Elements. The\\nElements are to speech what the simple notes of mu-\\nsic are to song: therefore the precise sounding of the\\nformer, is as necessary to correct speech, as is that of\\nthe latter to correct song.\\nDistinctions Letters are graphic characters, con-\\nsisting, merely of black strokes drawn on white\\npaper. 7 They represent two things, essentially dis-\\ntinct, often very different, from each other. They re-\\npresent, Firstly, the names by which they are called.\\nSecondly, the enunciated sounds of which they are,\\nmoreover, the symbols. The graphic character L is\\nthe letter: the conventional sound represented by ell,\\nis its name: the initial sounding element, pronounced\\nin the utterance of the word L ord, is that, of which\\nboth the graphic character, and its name, are the re-\\npresentatives. The distinction necessary to preserve,\\nis that between the name, and the simple elementary\\nsound. Is not a practical inattention to that distinction\\nove of the causes of the abject state of modern delivery\\nIt should appear, from what has been advanced, that\\nit is only by practical attention to the precise formation\\nof Elements that the expressive distinctness and ener-\\ngy of spoken language can be improved.\\nLingual Elements. Class I. formed by contact\\nof the tongue with the rough part of the upper gums\\nand teeth. D as in deed. T as in time, (x and J as\\nin jejane and age. L as in loyal. N as in noon R\\nI", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0020.jp2"}, "21": {"fulltext": "(initial or trilled) as in rural. This latter element is\\nformed by a forcible continued vibration of the tongue;\\nthe top of which is brought, by that vibration, into re-\\niterated contact with the upper gums. Y (initial or\\nconsonant) is formed, by approximating the tongue to\\nthe upper part of the mouth, and impelling sound be-\\ntween the organs brought into gentle contact. Z as\\nin zone, which is sonisibilant, is formed nearly in the\\nsame manner; but the teeth are closed, and the sound\\nwhich issues is made to vibrate against them in its\\npassage.\\nClass IT. It is not easy to describe, accurately, the\\npositions of the organs in the formation of S and C as\\nin see, civil. Ch as in cherry. Sh as in shine. Zh as\\nin r azure.\\nClass III. formed by protrusion of the end of the\\ntongue against, or between, the edges of the front teeth,\\nTh in the word thine is formed by the position de-\\nscribed in the former; Th as in thatc, by that describ-\\ned in the latter part of the preceding sentence.\\nGuttural Elements formed by the contractions\\nof the uvula and root of the tongue. G, K, Q, X, and\\nequivalent KS, as in vex; GZ and R, (final.) Wh,\\nas sounded in which, should be distinguished from\\nsimple W, as sounded in witch: the same distinction\\nobtains in where and were, and in all other syllables\\nand words commencing with either of these elements.\\nThe letter H represents the simple aspirate as in\\nHorse: but, it represents also that sound which is ut-\\ntered in immediate succession with a hard consonant,\\nas in Charles: in this latter case the H partakes of the\\nnature of a Guttural.\\nLabial Elements formed exclusively by the\\nlips. B, P, M, and the initial W.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0021.jp2"}, "22": {"fulltext": "8\\nLabio Dentals formed by the combined action\\nof the lips and teeth. F and V.\\nThe position of the lips has part in the ultimate\\nneatness and perfection of every enunciated sound;\\nparticularly the vowels. The lower jaw facilitates,\\nby its motions, and the consequent modification f\\nthe cavity of the mouth, the utterance of the vowels;\\nbut they may all be formed perfectly, with clenched\\nteeth, by proper attention to the aperture of the lips.\\nThe lips, it would seem, are the only enunciative or-\\ngans whose functions cannot be dispensed with, or\\nsupplied, by any substitution, in the process of distinct\\nand intelligible speech. The element ng would seem\\nto he a pure nasal sound; to be formed by the nostrils\\nalone, wihout any assistance from the organs of the\\nmonth: or at least, with a very slight modification of\\nits cavity, for the mere transmission of the sound winch\\nis to vibrate on the parts which constitute the nostrils.\\nDEFINITIONS. Vowel Elements.\\nA vowel is an element formed by a specific modifi-\\ncation of the cavity and aperture of the mouth, without\\ncontact of organs. The vowel sounds assigned to the\\nEnglish language are seven in number. These sounds\\nare, sometimes, represented by single letters, and often\\nby two or more letters combined; and whether single\\nor combined, the same characters represent different\\nvowels. But, however they be represented, every\\nvowel sound in our language, except one, is subject to\\nthe distinction of long and short. That one vowel is\\nalways short. It is the second element in the French\\nwords jp, me, te. It is found in the first syllable of the\\nword rer-dure: in that of virtue, of cupboard: it is\\nheard twice in cover. It is this same short imperfect", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0022.jp2"}, "23": {"fulltext": "vowel, that we hear, though denoted bv several differ^\\nent letters, in many of our final syllables^ and in\\nothers which have been denominated feeble, such as\\nover, under, havoc, pilot, jealous, \u00e2\u0096\u00a0pillory, ammo er,\\npilfir, medlar. Thus this element is represented by\\nthe separate letters a, e, i, o, u. What an alphabeti-\\ncal ambiguity! This ambiguity could only be removed\\nby assigning one graphic character to this element,\\n(and indeed, this remark applies substantially to every\\nelement,) and always employing that character when-\\never it should be uttered. The representation of the\\nelement in question by a number of vowel characters,\\npresents a most serious difficulty to the foreigner in the\\npronunciation of our language a difficulty which will\\nbe more obvious, when it is considered, that, in addi-\\ntion to these feeble syllables, which are uniformly such,\\nwe have many that are sometimes more distinctly pro-\\nnounced according to the particular vowel sound, but\\nto which, in conversation, we give this indefinite sound,\\ninstead of the particular one. Instances occur in the\\narticles a, an, the in the conjuctions and, or, nor, and\\nothers: in the prepositions of, to, from, at, for-, in the\\nparticles a, com, con, as in awake, above, compose,\\ncompare, conceal: in the word there in such phrases\\nas there is, there came: in the possessive pronouns\\nyour, their. In these instances we, commonly, only\\nhear the vowel alluded to, excepting where an empha-\\nsis requires a mo\u00c2\u00a5e distinctive pronunciation. We al-\\nso employ this vowel in the relative pronoun that, as\\ndistinguished from the demonstrative that;\\nWho is he with voice unblest,\\nu That calls me from my bed of rest\\nThat which is best administered, is best.\\nB", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0023.jp2"}, "24": {"fulltext": "10\\nThe difference in the pronunciation of the two thata\\nis the same as obtains between hat and hut. Ought not\\nan appropriate graphic character to be assigned to\\neach? Tfiat is also, sometimes a conjunction, when\\nit is sounded like the relative, Thut.\\nThe six vowel elements which have each a long and\\nshort sound are,\\nlong. short.\\nI. pronounced aw, heard in Saul, SoL\\nII. ah, Balm, Ban.\\nHI. a, Pane, Pen.\\nIV. e, Teen, Tin.\\nV. o, Know, Not.\\nVI. oo, Pool, PuU.\\nThe French u is not a vowel sound of our language.\\nConsonant Elements.\\nA Consonant (etymojogically, a sounding together)\\nis an element formed by the contact or combined action\\nof two organs of the mouth. Consonants may be sub-\\ndivided into MUTES, LIQUIDS, SEMILIQUIDS\\nand SIBILANTS.\\nPhysical Properties.\\nA Mute is a pure stop; the contact of organs being\\nso complete in its formation, as to suspend all vocal vi-\\nbration. A mute, consequently, can only be sounded-\\nin conjunction with another element.+ There are three\\nmules in the English language, T, K and P C and Q\\nmight be added; but when they are sounded like K,\\nthey are the same element See definition of Element.\\nThe precise position of organs on which the forma-\\ntion of these elements depends, may be ascertained by\\npreparing to sound the words Top, Pit, Kite, and\\nholding the T, K, and P, between the organs, sus-", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0024.jp2"}, "25": {"fulltext": "11\\npended over the succeeding elements, for some time.\\nbefore they are exploded upon those elements.\\nPractical Remark These elements are formed by\\nvoluntary contractions of the organs: therefore, whe-\\nther as initials or terminations of words and syllables,\\nthe distinctness and force of their utterance will de-\\npend upon the degree of contractile power employed\\nin their formation, and the consequent vigor of the im-\\npulse exerted in their explosion. The distinctness,\\nforce, and consequent audibility of words or syllables,\\nof which they consitute the outlines, will depend on\\nthe precision and vigor of their formation. Remark\\nA forcible contraction does not imply any expenditure\\nof physical power, incompatible with ease of delivery\\nand a quiet respiration.\\nThe points of importance in the formation of mutes\\nare, precision of position of the organs force of con-\\ntraction consequent energy r.f impulse or explosion.\\nMutes as terminatives Pit, Tip, Pick.\\nA Liquid is a tuneable element, formed by gentle\\ncontact of two organs of speech, in a state of vocal vi-\\nbration and it is susceptible of unlimited duration and\\nflexure of tone, without change of elementary charac-\\nter. The liquids are L, M, N, NG, R, initial or\\ntrilled, J Y, W, Y, {consonant or initial. J JVfiere I\\nuse the terms initial and terminative, I mean, of icords\\nand syllables. Sound the element L alone, as it is\\nsounded in the word Lord, as the initial of that word\\nor, as sounded in the word all as the terminative of\\nthat word, (the elementary sound is alike in either case)\\nand it will be found that the L will answer to the defi-\\nnition of a liquid. The same is true of the other let-\\nters enumerated. The voice can rise and fall upon\\nthem in the musical scale, by an acute or grave accent,\\nand it can make the flexure necessary to a circumflex-", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0025.jp2"}, "26": {"fulltext": "12\\n(See accent.) It can also dwell upon them ad libitum,\\nwithout changing their distinct character as expressive\\nelements.\\nPractical Remarks The Student is recommended\\nto sound them (and all other consonant elements, ex-\\ncept the mutes, which do not admit of it) alone, and\\nso frequently as to accustom the enunciative organs to\\ntheir precise, easy, and rapid utterance. Also to sound\\nthem in combination with other elements, (vowel and\\nconsonant) with which they can be made to enter into\\ncombination, both as initials and terminatives. Being\\nelements of tune, and being also, susceptible of unli-\\nmited duration of tone, the liquids are the proper ele-\\nments of quantity in speech: in other words, they are\\nthose elements, especially, on which the voice may\\ndwell, for a perceptible period, with an agreeable ef-\\nfect, in tilling out the cadences of speech. (See cadence.)\\nThey are inflective slide-. (See accent.) They are the\\nelements of harmony.\\n.Return to thy dicellmg nil /one/y return.\\nThe harmony of this line, will depend upon the as-\\nsignment of a due measure of quantity, and a proper\\ninflection of tone to the liquids which enter into its\\ncomposition.\\nA Semtliquid is a partially tuneable element, form-\\ned by the motion of one organ upon another; or by the\\nmotion of two organs in contact: and it is consequently\\nlimited in its duration, by the limits of the line of ac-\\ntion through which it can be formed. The Semili-\\nquids are B, D, X, sounded as GZ, as in eggs; Th\\nas in thine; 7a as in ze.no; 7A\\\\ as in azure.\\nBy sounding any one of the last mentioned elements\\nalone, it will be ascertained that though they have\\ntune, that tune is limited in its duration and compass,\\nby the line of action of the organs employed in their", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0026.jp2"}, "27": {"fulltext": "18\\nformation. They, consequently, do not admit of the\\nity as liquids. As expressive U merits\\nthey possess more energy and less harmony than li-\\nquids. That composition, and that enunciation, will\\nbe most harmonious which is articulated by means of\\nliquids: those most energetic which are articulated by\\nsemiliquids, by other consonants, and by aspirates.\\n(See articulation.)\\nExample Return to thy dwelling, all lonely re-\\nturn.\\nCounter example And their hoof-beaten bosoms\\nare trod to the plain.\\nA Sibilant is an element formed by gentle contact\\nof organs, and an impulse of breath, without vocal vi-\\nbration. S, C sounded like S, Sh Ch F as in\\nthe word fate; (x and J sounded like G; Th as sound-\\ned in thaw; X sounded like KS, as in vex: are all\\nsibilants. They constitute the hissing sounds of our\\nlanguage; and their too frequent obtrusion both in its\\ncomposition, and delivery, have brought it into dis-\\ncredit with foreigners. The S and may be often ex-\\nchanged for the Z in pronunciation, which latter, being\\nsonisibilant, (that is, having more tune and less sibi-\\nlancy,) is always the preferable element, where it can\\nbe substituted for the others.\\nPractical Remarks on consonant elements in ge-\\nneral All the consonant elements, except the mutes,\\n(contrary to the received opinion^ can be sounded\\nalone. Many of them can be sounded in conjunction,\\nwithout vowels. We may here remark, that we have\\nmany syllables consisting of consonants only, without\\nthe intervention of any sounding vowel whatever. Of\\nthis the word syllable itself affords an example, and\\nthe word example exhibits another. Syllables con-\\nsisting of consonants only, are formed bv an immedi-", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0027.jp2"}, "28": {"fulltext": "14\\nate articulation of the liquids I or n, with one or other\\nof the following consonants p, b, f, v, t, d, s, z, k, g,\\nas in the words apple, able, stifle, evil, title, fiddle,\\nwhistle, hazel, tickle, smuggle and in happen, even,\\nkitten, hoyden, brazen, spoken, and others, though the\\ne and i are written, no vowel sound is heard in the ut-\\nterance of the final syllables. The student is advised\\nto exercise his organs of enunciation on these combi-\\nnations. It will, moreover, contribute to precision and\\nfa ility of utterance, to sound all the consonant ele-\\nments alone, and in every variety of combination, (both\\nvowel and consonant,) of which they are susceptible,\\nas an exercise.\\nFrom what has been advanced, it will be manifest\\nthat all consonant elements are susceptible of quantity,\\nexcept the mutes and aspirate; but it is essential to a\\ncorrect, forcible, and harmonious delivery, that we\\nshould ascertain the necessary, the practicable, and\\nthe desirable quantities of elements.\\nAlthough the mutes are not susceptible of quantity,\\nas they cannot be sounded at all alone, it will be found\\nnecessary to the proper filling out of cadences, (see ca-\\ndence,) to prolong the stop which they occasion, by\\nholding them awhile between the organs, so as to mea-\\nsure in silence the time of the musical bar.\\nNone of the consonants, except the liquids and se-\\nmiUqulds, should have more quantity assigned to them\\nthan is necessary to distinct audibility. The remark\\nmade with respect to mutes, as to precision of organs,\\nforce of contraction, and energy of impulse, is appli-\\ncable to all the other consonants. Attention to that\\nremark must insure their impressive contradistinctness\\nand audibility, as separate elements addressed to the\\near: and, as elements make syllables, syllables words,\\nand words sentences, the precision and energy of de~", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0028.jp2"}, "29": {"fulltext": "15\\nlivery, its distinctness and force will depend on the\\naccurate and forcible formation of elements. The li-\\nquids are to sustain a considerable preponderant^,\\nboth of quantity and inflection. Give quantity to\\nyour liquid in order to fill out your cadence, is a di-\\nredion which it will be found necessary again and\\nagain to reiterate, in teaching the art of reading in\\nmusical time. Liquids, having a natural tendency to\\nmusical inflection, are the proper elements of quantity\\nin speech. Towels having a natural tendency to mo-\\nnotone, are the proper elements of quantity in song.\\nAs a general rule, it may be said, the vowels are not\\nto be dwelt upon: the giving too much quantity to\\nvoAvels will produce a drawl in the utterance, a drawl\\nwhich is so frequently heard, but which is so offensive\\nto the ear, in the elocution of the pulpit.\\nThe vowels are to be considered as mere facilitating\\npassages from one impressive consonant element to\\nanother. Unless these remarks be practically attend-\\ned to, as any person may demonstrate to himself by\\nreading with a drawl, and by endeavouring at the same\\ntime to utter forcibly, there will necessarily be a great\\nexpenditure of physical energy, for the production\\nwith regard to impressiveness of delivery, of a com-\\nparatively feeble -effect. If the energy of enunciation\\nbe made to fall on the consonant elements, if they be\\narticulated, and due quantity be given to the liquids,\\nthe vowels will take care of themselves; spoken lan-\\nguage will be contradistmctly and fully impressed up-\\non the ear, and energy and harmony will be the cer-\\ntain result. These remarks may be verified, by\\nmarking the respective consonants and vowels in a\\nreading lesson, and sounding them subject to such re-\\nmarks. It will then be ascertained that the conso-\\nnant sounds constitute the impressive outlines of our", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0029.jp2"}, "30": {"fulltext": "16\\nspoken language; and that vigor and harmony of de-\\nlivery, depend upon their accurate and energetic enun-\\nciation. A forcible delivery, as depending upon mere\\nmuscular force exerted by the members of speech with-\\nin the mouth, will not be found to involve the evil of\\nphysical exhaustion. That exhaustion depends upon\\nother causes, to be hereafter mentioned; combined with\\nsuch as have been already enumerated.\\nIt depends 1. On neglect of articulation and im-\\nplication 2. On a violation of Cadence. See\\nCadence.\\nWhat is Articulation It is that function of the or-\\ngans of enunciation, which is so well understood, and\\napplied, by the French in the utterance of their lan-\\nguage; and which is one cause of the smoothness and\\nfacility of their speech. Articulation, by most writers,\\nhas been confounded with distinctness. (See John-\\nson, Sheridan, and others. J But it is, in truth, the\\nact of combining and linking together of elements,\\nwhich, by their inherent qualities, are susceptible of\\ncoalescence, so as to form them into intelligible sylla-\\nbles and words, capable of being again combined into\\nclauses, and sentences, for the adequate conveyance\\nof our ideas, thoughts and determinations.\\nI\\nt \\\\r\\nAllways, not A 11 ways.\\nChariot, not Cha ri ot.\\nCoach, not Co ach.\\nThe digamma Y is with us, as it was with the\\nGreeks, one of the articulating elements: as are, also,\\nmany vowels. We interpose the latter in actual speech,\\nvery fVequenily, where they are not indicated by the\\northography.\\nf m r J", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0030.jp2"}, "31": {"fulltext": "17\\nThe digamma y, will be found in the word Idea,\\npronounced, by a delicate articulation, though an ab-\\nsolute one, ldeya. The y will be frequently defected\\nbetween separate words. In this latter case it consti-\\ntutes an articulating element of actual speech equally\\nas in the y other. The word Henry, will afford\\nan illustration of an articulating vowel; we write Hen-\\nry we say (delicately marking the ej Henery. It is\\nsufficient, perhaps, to have awakened attention to these\\nsupernumerary elements, not ascertained to the eye,\\nby the orthography. As the articulating elements con-\\nstitute the outlines of words and syllables, and there-\\nfore give them their expressive character, Articula-\\ntion is of infinite importance to the foreigner. It is\\none of the secrets of acquiring the accurate pronunci-\\nation of a new language, in its current delivery.\\nImplication is the combination and vocal union of\\nwords, in oral utterance, which are graphically sepa-\\nrated; and by which, without injury to the intelligible\\ndistinctness of the respective words, all differences of\\nauditory impressions are removed between monosyl-\\nlabic and polysyllabic composition.\\nExamples.\\nAman, Aship, Anapple.\\nNot\\nA man, a\u00e2\u0080\u0094 ship, an apple.\\nH Oh could I flow like thee, and make thy stream.\\nThe in the word Oh, (for the h is not sound-\\ned,) is implicated with the c of the word could;\\nihe d of this latter word with the personal pronoun Z:", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0031.jp2"}, "32": {"fulltext": "18\\nthe J with the /of the wovd flow the liquid w of the\\nword flow with the liquid I of the word like; the thy\\nis implicated with the s of the word stream, so as to\\nmake the scjfund of tliice in utterance. There are, also,\\nother implications (besides those between the elements\\nof the same words) in the line just quoted, to which\\nno allusion is made, because they are less obvious.\\nThroughout the whole line, almost, there is a continu-\\nous coalescence of elements depending upon an inti-\\nmate succession of changes in the organs of enunci-\\nation. By these changes the sound is not, merely,\\ntransferred from one elementary position to another*\\nbut the respective elementary sounds are blended with\\neach other, by a continuity of progression.\\nMy great example, as it is my theme.\\nBesides other implicated parts of the last line, the li-\\nI in the word example is to be implicated with\\nthe a in the word as. By a delicate precision in the\\nac- on of the enunciative organs, the soi-nd of the I\\nmurmurs over the intervening pause j nd communi-\\ncates to the ear that continuous harmony, of which\\nthis part of the line is susceptible. The full eilect of\\nimplication can only be cdis nicated orally, but when\\nit is accomplished with due delicacy and precision, the\\nline borrows from it a harmony which is peculiarly\\nBoot! ing and agreeable to the ear.\\nPractical Remarks If elements be not accurately\\nformed; if the enunciative organs hurry with great ra-\\npidity from one elementary position to another, the re-\\nspective elementary sounds will not be allowed a suf-\\nficient time to make their due impression on the ear,\\nand the speaker will either clutter or gabble. An at-\\ntention to the observations which have been made will\\nprevent birth these defects. If elements be not articu-", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0032.jp2"}, "33": {"fulltext": "19\\nlated and implicated, the delivery will be feeble and\\ninharmonious. V will be deformed by recurring hi-\\natus, and will consequently be in staccato when it\\nought to be in legate\\nA large class of impediments of speech depen\\\\\\nprincipally, on want of attention to the articulation and\\nimplication of elements which have a natural coales-\\ncence.\\nThe energy of delivery, as well as its smoothness,\\ndepends on articulation and implication. Suppose it\\nbe desired to give force of pronunciation to the word\\nExample, in the line last quoted; to this end, the ele-\\nment E must be struck with a strong impulse to ac-\\ncomplish this, the exploding force of the mute t in the\\nword great must be discharged upon the E but then,\\nthe two elements must be implicated if not, a hiatus,\\nmore or less perceptible, will intervene between them,\\nant! the E, consequently, will not be sounded with\\nenergy. The principle deducible from this example,\\napplies to other instances and we may lay it down\\nas a practical axiom, that energy and harmony of de-\\nlivery require the accurate formation and intimate ar-\\nticulation and implication of correlative elements. The\\nremarks which have been made, will be found of\\nspecial importance to foreigners, in the pronunciation\\nof our language and by Frenchmen, from the exam-\\nple afforded by their own, these remarks cannot fail\\nto be understood. An attention to them will insure\\nthe two most important requisites of intelligible and\\ncorrect English speech: the utmost distinctness of\\nenuneiative expression, combined with the most unin-\\nterrupted flow of vocal sound.\\nIt may be subjoined, that, the difference between\\nArticulation and Implication is merely a grammatical\\none 5 Articulation relating to the syllables of the same", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0033.jp2"}, "34": {"fulltext": "d; Implication to those of words graphically sepa-\\nrated,\\nPractical Rule All elements in the same word;\\nsusceptible of coalescence as they succeed each other,\\nare to be articulated. All words, though graphically\\nseparated, susceptible of coalescence, as they succeed\\neach other, are to be implicated, except the sen*e be\\ninterrupted between such elements as are susceptible\\nof implication, by caesurse or other pauses. The ex-\\nception does not apply to pauses which merely sus-\\npend the sense, as in the line last quoted. (See the\\npause between the word example and the word as.)\\nNote. The student is advised to mark the initial\\nand terminative elements of syllables and words in his\\nreading lessons, and to read those lessons carefully,\\nsubject to these remarks.\\nWe will recapitulate by observing that perfect enun-\\nciation requires three things Distinctness, Articula-\\ntion and Implication. As distinctness depends on\\nthe accurate formation of elements, articulation is the\\nact of so combining them with each other, as to consti-\\ntute syllables and words, though it has generally been\\nunderstood to be rather the act of separation between\\none syllable and another, than that of their immediate\\nand intimate coalescence. To distinctness and articu-\\nlation must be superadded implication, or the combi-\\nnation in oral utterance of words which are graphical-\\nly separated. It is thus, that the distinction to the\\near between monosyllabic and polysyllabic language is\\nannihilated; for the ear, unassisted by the eye, knows\\nno such thing as a distribution of speech into such se-\\nveral portions as graphic composition has instituted.\\nIn continued utterance the processes of articulation\\nand implication are, wherever elements are so collo-\\ncated as to admit of them, to be effected by a delicate", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0034.jp2"}, "35": {"fulltext": "21\\nprecision of the motion of the organs without cessation:\\nof sound from one elementary position to another, by\\nmeans of which the terminative sound of one element\\nis imperceptibly glided into the succeeding one, whe-\\nther of distinct syllables or words. These graces of\\nenunciation, and the precision and delicacy of manage-\\nment by which they are attained? are best exhibited\\norally. Such an exhibition demonstrates that our oral\\nlanguage is neither harsh nor monosyllabic in its struc-\\nture. These graces once acquired, we shall not hear\\nthe melodious versification of Shakespeare injured by\\nthe pronunciation of words as monosyllables, which\\nlie pronounced as dissyllables nor will the rich, mag-\\nnificent, and exquisitely collocated measure of Milton\\nbe separated into chaotic fragments from an ignorance\\nof the true principles, by which its utterance should\\nbe regulated.\\nCombination of Elements in Vocal Cadences.\\nELEMENTARY AXIOMS more fully illustrat-\\ned in the Lectures, and susceptible of full explana-\\ntion, only by oral demonstration.\\nThe larynx is a compound organ. It performs the\\nfunction of an air tube and of a musical instrument.\\nThe first of these functions is essential to respiration,\\nthe second to speech. During the immediate emission\\nof vocal sounds inspiration cannot take place, conse-\\nquently, continued utterance must be divided into por-\\ntions. By a beautiful law of relation, which presides\\nover the compound function of the larynx, an undis-\\nturbed respiration is rendered compatible with con-\\ntinued speech. That law requires the division of the\\nparts of continued speech into metrical cadences. It\\nmay be, and frequently is, violated, but when observed,", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0035.jp2"}, "36": {"fulltext": "22\\nit adjusts the balance between the processes of respi-\\nration and continued speech with the utmost nicety,\\nby subjecting the latter to musical time: this is true,\\nwhether the matter be recited, or spontaneous whe-\\nther it be prose, or poetry whether the delivery be\\nstately, or of the most iiuent description. The effect\\nof the division of speech into metrical cadences is sus-\\nceptible of oral demonstration, as are also the contrary\\ndefects. (Lectures.\\nIf the enunciated sounds of continued speech, to-\\ngether with its respective rests and pauses, are sub-\\njected to musical time, the respiration will never be-\\ncome disturbed the physical power of the speaker\\nwill be exclusively employed upon the impressive ele-\\nments, and in giving effect to the other musical attri-\\nbutes of speech. In the proportion in which speech\\nis not accurately divided by metrical cadences will\\nthe respiration become laborious, and the physical\\npowers be so far ineffectually applied.\\nThe division of language, then, by musical time,\\nis essential to easy, correct, and forcible- continued ut-\\nterance. The lav/ of relation is carried still farther\\nthe grammatical sense of language will always be\\nfound correspondent with an accurate division of its\\nparts into cadences. The recognition of such a di-\\nvision, the adaptation of a musical notation by which\\nit is demonstrated, and an adherence to that notation\\nin actual delivery, however unrestrained and fluent,\\ncoastitujfce the peculiar and distinguishing advantages\\nof the system of elocution, of which it is the object of\\npages to display the elements.\\nTo the comprehension of the foregoing remarks, it\\nis essential that the nature of a cadence or metrical\\nfoot ;,e distinctly understood. What is a Cadence?\\nA Cadence is a portion of tuneable sound, commenc-", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0036.jp2"}, "37": {"fulltext": "23\\ning heavy and ending light. It may be exhibited to\\nthe ear without accompanying syllables. (Le\\npe succession of tea vy and, light in on. caflei\\ndependent upon a law belonging to the primary organ\\nof voice, the larynx, by which that organ is inr-vi\\nsubjected to alternate Pulsation and Remission.\\nTUftEs.) The necessity of this alternate pulsation\\nremission is shewn by uttering, in immedi\\nSlon; without accompanying syllables, two of\\nplest elementary sounds upon which a syllable can be\\nengrafted. A\\nIt is to he particularly noted, that a cadence\\nsists of but two elementary portions; a heavy, ai\\nlight sound, distinguishable by the ear from ea\\nWhat is the distinction between a cadence and a\\ntrical foot?\\nA perfect metrical foot consists of one syllable, or\\nany number of syllables, not exceeding five, occupy\\nthe duration of a cadence. The word Tem-per \\\\vill\\nA\\nexhibit a perfect metrical foot, consisting of two sylla-\\nbles. These two syllables occupy the duration of a\\nradence. The note falling on the Tern is esse*\\ntially different from that falling on the per. The\\nfirst is the heavy, the second the light part of the ca-\\ndence. The word temperance exhibits a metrical foot\\nA\\nof three syllables; the heavy sound of the cadence\\nfalling on the first syllable, and the light falling upon\\nand being subdivided by, tlie las! two syllables. 80\\nalso of any foot not exceeding live syllables. The\\nterm poise embraces the phenomena included in the\\nutterance of the heavy and light. We speak of the\\nheavy poise as applicable to iiiQ first syllable of both\\nwords which have been employed: and of the light", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0037.jp2"}, "38": {"fulltext": "24\\npoise as applicable to the second syllable of the word\\ntemper, and to the second and third syllables of the\\nword temperance. The heavy poise constituted the\\nThesis, the light poise, the Arsis of the Greek gram-\\nmarians. We appropriate the sign A as the technical\\nindication of the heavy, .-.as that of the light poise.\\nAn imperfect metrical foot consists of a syllable or syl-\\nlables occupied by only the heavy or light part of a\\ncadence. A Bar being a technical invention, separa-\\nting cadence from cadence to the eye, may be occupied\\nby an imperfect foot, and the time of such bar is com-\\npleted by a corresponding rest, as in the following line.\\nTwas at the\\nA\\nroyal\\nA\\nfeast 1 1 for I Persia\\nwon 1\\nA\\nA ...I A I A\\nFeast is an imperfect foot under heavy poise; for is\\nanother imperfect foot under light poise; the time of the\\ncadential bars is completed by the rests of the voice.\\nIt is very important to notice, that by modern gram-\\nmarians poise has been confounded with accent. All\\nsyllables having the heavy poise have been denomina-\\nted accented, and those having the light poise the un-,\\naccented syllables. By heavy poise, in this work, is\\nmeant that property of a syllable, which has acquired\\nfor it the term accented. By light poise, that property\\ndistinguishable by the ear from the other, which has\\nacquired for a syllable the denomination of unaccented.\\nAxioms.\\nThe heavy and light sound, (together constituting a\\ncadence) can be uttered in immediate succession. Two\\nheavy sounds cannot be uttered in immediate succes-\\nsion, for the same reason that the hand, having closed\\nby a contraction of the muscles, cannot be closed a-\\ngain until by a relaxation of the same muscles, it has", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0038.jp2"}, "39": {"fulltext": "25\\nbeen intermediately opened. Let us apply this phy-\\nsiological reasoning to the Larynx. The heavy part\\nof a cadence depending upon its pulsation, if the light\\nportion do not follow, the remission must take place\\nsilently, and the time of such remission measures the\\ninterval which in other cases is employed in the utter-\\nance of the light part of the cadence. This is demon-\\nstrated in the lectures.\\nApplication of these principles to syllables. Hea-\\nvy and light sounds, in immediate succession, constitute\\nthe bases of such words as fancy, picture, lecture, tem-\\nA A A A\\nper, Linden. Light and heavy sounds in succession\\nA\\nconstitute the bases of such words as abhor, detest,\\nA A\\navoid, protest.\\nA A\\nHeavy sounds in succession but divided by inter-\\nvening pauses, which occupy the time of the light poise,\\nin the foregoing words, constitute the bases of such\\nsyllables as Man Boy Beast Bird Fish Tree\\nA A A A A A\\nHouse and of all substantive monosyllables every\\nA\\nsubstantive syllable, whether compounded or uncom-\\npounded with other syllables, being heavy, by the\\nlaws of all rational, established usage so also are sub-\\nstantive, or essential verbs, as bid br e ak storm kill\\nA A A A\\nThe light sounds supply the bases for such syllables\\nas the of to and or he she it and of all par-\\n.\\\\A.\\\\A.\\\\ A A.-. A. -.A A.-. A\\ntides, prepositions, c, except when they change their\\nqualities under the influence of the emphasis of anti-\\nthesis.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0039.jp2"}, "40": {"fulltext": "26\\nThere are syllables of indeterminate poise, and there-\\nfore, tractable to the alternations of heavy and light,\\naccording to tli3 syllables with which they are associa-\\nted, as, let let will will can can.\\nA A A\\nwhich is the case with all auxiliaries, expletives, and\\nmonosyllables of comparative or intermediate impor-\\ntance.\\nLet him go where er he will man shall still be\\nA A A A k k\\nman.\\nWill man let virtue still go bare and shall all\\nh k h ts\\njustice be refused\\nThough the latitudinary syllables, or syllables com-\\nmon in their poise, are sufficiently numerous for all the\\npurposes of convenience in composition, yet the poise\\nis, generally speaking, the most fixed and indispensa-\\nble of all the properties of English syllables.\\nExperiments on successions of syllables, determi-\\nnate in their poise, and untractable to alternation, de-\\nmonstrate that the ear is offended by an attempt to\\nchange their quality\\nMan Man Man Man Man Man Horse foot\\nfoot horse Horse foot or horse and foot, and foot\\nb b k t\\\\ h b\\nand horse.\\nts\\nBut in the word woman, where the sex becomes the\\npotential syllable, and a few parallel instances, man\\nbecomes consequently, a light syllable.\\nExample of a succession of syllables with custom\\nary poise", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0040.jp2"}, "41": {"fulltext": "27\\n4i Ye airy sprites who oft as fancy calls.\\nA.-. A A A A\\nThe same succession of syllables with inverted poise.\\nYe airy sprites who oft as fancy calls.\\nA .-.A A A A\\nSubstantive monosyllables, or any succession of syl-\\nlables, all determinate in their affection to the heavy\\npoise, if properly pronounced, with or without inter-\\nvening conjunctions, occupy precisely the same time in\\nutterance.\\nMy hopes fears joys pains all centre in you\\nA A A A s A A\\nMy hopes and fears and joys and pains all centre\\nA A A A a7? A\\nin you\\nA\\nThe light poise may be so interrupted as to form\\ntwo, three, or even four syllables in rapid utterance, as\\nBeautiful beautifully capable of af fording\\nA\\nA A A.-.\\nSo an apparatus might be provided that should in-\\nterrupt the return of the pendulum, dividing its alter-\\nnations into sensible fractions but the principal of al-\\nternation would not thereby be superseded or gain-\\nsaid, any more than the necessary pulsation and re-\\nmission of the larjpix in these instances.\\nThese alternations have no necessary connection\\nwith long and short, in the Latin language.\\nAnna viruinque cano Trojse qui primus ab oris\\nA.-. .-.A .-.A .-.A A .-.A.-.\\nad quern turn Juno siipplex his vocibiis iisa est.\\nA A A A A k\\nNote. Hei e is manifestly a violation of Cadence; for no man reads these lines as\\nthey are scanned.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0041.jp2"}, "42": {"fulltext": "28\\nNor in the English\\nrevelry beautiful colon\\nA.-..-. A A\\nImmortal nature lifts her changeful form.\\nA A A A A\\nYe airy sprites who oft as fancy calls.\\nA A A A A\\nWhere in their bursting cells my embrlous rest.\\nA A A A A\\nThe hawthorn trees blow in the dews of the\\nA A A\\nAnd wild-scattered cowsllpsbedeck the sweet dale.\\nA A A A\\nNor with acute and grave\\nAnd Brutus 1 is an honorable man. (affirmative-\\nA A. A. A\\nm\\nAnd sure 1 he is an honorable man? (interroga-\\nte A A A\\nlively.)\\nNor with strong and weak, nor with loud and soft\\nSuppose a man speaking to his mistress in the\\nwords my dear dear being in this place, put sub-\\nstantively, is absolutely affected to the heavy poise\\ntherefore, those words must be noted to be pronounced\\nthus, my dear. Suppose the conversation to have\\nA\\nbegun in the ordinary degree of loudness, and at the\\ninstant he has pronounced 7?z?/, a person appears in\\n\u00c2\u00abight who ought not to hear the next syllable, the", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0042.jp2"}, "43": {"fulltext": "29\\nspeaker can instantly soften his voice, even to a whis-\\nper, though still the word will carry its proper poise,\\nand remain heavy. (It must do so, unless he pauses,\\nfrom the physical principle already demonstrated.)\\nSo that to write those two words as directory to an\\nactor, they should he noted thus, rmy I J dear forte,\\nA\\nJ pianoj (Steele s Pros. Rat. 2 edit. p. 89.)\\nThe physical cause of this alternation of heavy and\\nlight, and its indispensable necessity, may be demon-\\nstrated not only by anatomy, but by the united senses\\nof vision and of touch, on examining the action of the\\nliving throat, in the act of energetic speaking.\\nThis principle, and not the mere arrangement of\\nlong and short syllables, constitutes the natural basis\\nof rhythmus in language but the perfection of that\\nrhythmus must depend upon the nice adaptation of\\nquantities, to fill out properly the physical alternation,\\nand preserve a due proportion in the cadences and\\nclauses.\\nPrinciples of Metrical Proportion, and of Rhythmus.\\nDefinitions A cadence is a portion of tuneable\\nsound, for of organic aspiration, J beginning heavy\\nand ending light. A A foot is a portion of sylla-\\nbic enunciation, occupying the interval of such ca-\\ndence, fancy revelry beautifully But part of such\\nA.-. A.-. A.-.\\ninterval may pass in hiatus or pause i. e. the action,\\nor the reaction of the primary organ by which the ca-\\ndence is formed, may be made silently in which case\\nthe cadence will be occupied by an imperfect foot. A\\nbar is a mere technical invention in elocution, as in\\nmusic, separating cadence from cadence to the eye.\\nTo perform its function faithfully, it ought, in general,", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0043.jp2"}, "44": {"fulltext": "30\\nto be drawn through the middle of the letter that arti-\\nculates the cadences since the change of cadential ac-\\ntion from light to heavy, as well as from heavy to light,\\nin all graceful utterance, generally takes place in the\\nmiddle of the element especially of the liquid for\\nthe whole process of speech is by slides and inflec-\\ntions, not by steps and perceptible intervals.\\nA cadence may be either in common or in trifle time.\\nWe consider those verses in which the generality of\\nthe cadences contain a foot of two syllables, as speci-\\nmens of common measure\\nExample Nature s j changeful j form\\nA A A\\nand those in which feet of three syllables preponderate,\\nas specimens of triple measure.\\nExample The I murmuring I streamlet winds 1\\nI A I A I\\nclear thro the I vale.\\nDenominations of Cadence. Those cadences are\\nmost perfect that are occupied by feet, either of two\\nor of three syllables i. e. common or triple ca-\\ndences and one or other of these must be so preva-\\nlent, in every hitherto admitted species of English\\nversification, as to give its primary denomination to\\nthe measure. Next to these is the emphatic cadence,\\nor cadence occupied by an emphatic foot i. e. by a\\nsingle protracted syllable, beginning heavy and end-\\ning light. The frequent use and disposition of this\\nfoot, and the apposite adjustment of the metrical ba-\\nlance, by correspondent triple cadences, is one part of\\nthe mystery of Dryden, in the mechanism of some of\\nhis finest passages.", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0044.jp2"}, "45": {"fulltext": "31\\nArms and the 1 man, 1 1 sing\\nA J A .-.1 a.\\nA...\\nwho 1 1 forced by\\nA...| A\\nfate.!\\n1\\na\\n1 Aus\\nA\\npicious 1 prince\\na 1 7^\\nr at I whose na\\nA.,l A\\ntivity.l\\nA......I\\nThese varieties are indispensable to blank verse;\\nparticularly at the beginning and the ends of the clauses.\\nMilton uses them, as well as other varieties, sometimes\\nwith a stately, and sometimes with a lyrical effect, that\\nis truly magical.\\nHail\\nA\\nbovpi\\nholy\\nA.-.\\nlight 1\\nA\\noffspring of I heav n first\\nOr with rhetorical emphasis\\nHail\\nholy\\nlight\\n1\\nA\\nA\\nA\\nA...I\\nborn.\\n5?\\nA\\nI offspring of (heaven\\nA I ^TT:\\nfirst\\nThe third in degree, is the accelerated cadence; or\\nfoot of four syllables, the whole, or part of which, will\\nnecessarily be accelerated, or more than ordinarily\\nshort\\nCitizens of i London Sympathies of Soul H\\nI ci With frolic j dance and j revelry and j song. 1 |f\\nTo j momentary consciousness ajwoke. lj|\\nOf these four kinds, Milton has composed the ex-\\nquisite rythmus of the Paradise Lost using the last\\nsparingly, but with admirable effect still preserving,\\nby its preponderance, the common cadence as his stand-", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0045.jp2"}, "46": {"fulltext": "32\\nard measure; to which, in point of integral quantity,\\nall the others must conform.\\nRocks 1 caves 1 lakes I fens bogs dens\\nand j shades of death j\\nA I universe of I death ,f which God by I curse\\nfl Cre\\nated\\nA\\nevil\\nA-^\\nTfor\\nevil\\n1 A\\nonly good;\\nu Where all life diesj j death j lives jTand {nature\\n(breeds\\nH Perj verse, j all monstrous j-j all prodigious j things;\\nAibominable i f uni utterable i I and I worse,\\nI A J I A I\\nThan I fables I yet have I feign d or I fear conlceivedj\\nI Gorgons and Hydras and Chilmeras i dire.\\n1st. edit.\\nThe following couplet is, I believe, perfectly unique-\\nThat to the i height of tins great argument\\nA I A A I A.-.\\nI may as.sErt e iternal i Providence.,\\nA\\nIa\\nA\\nMilton uses also, very freely, an appogiatura, or\\na syllable more than is counted in the bar those who\\nwould know how freely, must look into the original\\nedition not to the corrections of modern editors. Dry-\\nden does this also and some of the finest verses of\\nPope result from this violation of his own rules. These\\nappogiaturse constitute an essential part of the expres-\\nsive harmony of the best writers, and should never,\\neither in typography or utterance, be superseded by\\nthe barbarous expedient of elision. In the following\\nlines, the appogiatura is marked (for want of a better\\nnotation) by what is vulgarly called the short accent", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0046.jp2"}, "47": {"fulltext": "33\\nGirt amiable a scene of pastoral joy/\\n44 Covering the beach, and blackening all the strand.\\nDryden.\\n44 His genuine and less guilty wealth to explore.\\nDenham.\\n44 The cock s shrill clarion, or the echoing horn.\\nGray,\\n44 Ungrateful offering to the immortal powers.\\nPope.\\nThe foot of five syllables is a base foot used only\\nin the cadences of familiar prose and even there, it\\nresults as much from the licensed carelessness of the\\nspeaker, as from any necessities in the language and\\narrangement. If the soul be happily dis j posed\\nev ry thing becomes I capable of af I fording enter\\nA A A I\\ntainment j In graver composition, or a more serious\\nmood, this very sentence would be thus delivered\\n44 If the soul j 1 be happily dis j posed eve-ry j\\nthing I j f be j comes j capable j T of af j fording enter j\\ntainment\\nBut verse admits of less latitude, (to the reader as\\nwell as to the writer and even Shakespeare, in the\\nutmost freedom of colloquial variety, never goes be-\\nyond the cadence of four syllables.\\nHe had a I fever\\nwhen he was in\\nA\\nSpain!\\nEnglish syllables differ, in quantity, in all the lati-\\ntude of from eight to one. The integral feet, by which\\ncadences are occupied, are capable of many technical\\ndiscriminations certainly of all that are enumerated\\nin the Classical Gradus. Many of our syllables (like", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0047.jp2"}, "48": {"fulltext": "34\\nthose of every other language) are common, that is to\\nsay, are liable to be long, or short, according to cir-\\ncumstances of emphasis, arrangement, and association.\\nTne absolute quantity of every syllable (as to the po-\\nsitive time it shall occupy in utterance) is latitudinary,\\nto a certain extent, (or we could not sometimes speak\\nslower, and sometimes faster;) but not the relative\\nquantity, with reference to the other syllables of the\\ncadence. There is, therefore, no difficulty in giving\\nto a trochee, or an iambus, the same entire quantity\\nwith a spondee or to a spondee, the same with a\\ntrochee, though differing in the proportions of their in-\\ntegral parts. If, therefore, the standard or preponde-\\nrating cadences be spondees, as in Milton\\nOf man s first dlso j bedience, and the\\nfruit\\nOf that for j bidden j tree, whose mortal taste j\\nBrought\\ninto the\\nA\\nworld, I and\\nall our\\nwoe\\n^o 9J\\\\\\n9 I\\nthe whole measure of the passage will be stately and\\nsolemn, and the trochaic and iambic feet must have,\\nin delivery, (but without injury to their integral pro-\\nportions) an increased quantity. If the trochee be the\\nprevailing foot, the cadences of that passage must pre-\\nserve the same briskness of measure and the spon-\\ndees, though still maintaining their syllabic equality,\\nmust be pronounced comparatively short. This must,\\nalso, have been the case, in several of the Greek and\\nLatin measures or they have otherwise no regular\\ntime, or proportion of cadence-\\nAs every long syllable is not equally long, and eve-\\nry short syllable is not equally short, some trochaic*", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0048.jp2"}, "49": {"fulltext": "35\\nmay be inherently as long as some spondees* Spon-\\ndees may, also, be pure, (or of exact equality in their\\nsyllables,) as c Man s first diso bedience; or\\nimpure, (both long, but not equally long) as all ourj\\nwoe. The same is true of all languages for sylla-\\nbles are not meted out by a Winchester measure, ac-\\ncording to an arbitrary standard of critical legislation\\nbut derive their quantities from the accidental associ-\\nation of their elemeuts, and other independent circum-\\nstances. Some syllables, also, in our language, as in\\nevery other, are either comparatively long, or compa-\\nratively short, at discretion, or according to circum-\\nstances of association and emphasis. This is particu-\\nlarly the case with the possessive pronouns, of which\\nour, in the cadence quoted above from Milton, is an\\ninstance where it becomes long, from the protracted\\naction of the voice, in passing from liquid to liquid in\\nsuccession, and from the energy of voice to be collect-\\ned for the solemn close of the line upon the word woe.\\nIn such succession and composition as the following,\\nour would be short-\\nAll our sighs and all our j tears,\\nAre they not a folly?\\nWhen the preacher j care ap j pears,\\nDrink and make him jolly\\nThere is great difficulty in analyzing the minute\\nquantities and proportions of syllables, from the ex-\\ntreme shortness of time occupied by each, in correctly\\nmeasured pronunciation. In ordinary discourse, or\\nreading, rather more than three syllables are pro-\\nnounced in a second; that is to say, the average length\\nof a syllable is about eighteen- thirds which is at the\\nrate of two hundred syllables in a minute without", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0049.jp2"}, "50": {"fulltext": "36\\nallowing any thing for pauses. So that the actual\\naverage quantity of a syllable, cannot be admitted to\\nbe more than the fourth part of a second, or the two\\nhundred and fortieth part of a minute. But if the\\nlongest of such syllables, in ordinary discourse, occu-\\npies but a second, (the sixtieth part of a minute\\nand the shortest, but an eighth part of that time, that\\nis, the four hundred and eightieth part of a minute, it\\nis more astonishing that we should be able to take\\nc=j\u00c2\u00a3;nizance oj such syllables at all, than it is that we\\nshould require long habits of patient and severe ana-\\n1\\\\ sis to enable us, in any degree, to detect their com-\\nparative proportions- It is in consequence of the dif-\\nficulty which such proportions present to us that the\\nmore obvious and intrusive qualities of heavy and\\nlight have been substituted, in general calculation, for\\nIbng and short and that poise has been confounded\\nwith quantity.\\nLaws of Utterance. The first and most indis-\\npensable requisites of intelligible speech, are, the com-\\nplete formation and clear articulation of the respective\\nelements. But, accomplished elocution must depend,\\n1st, upon measure, or the just proportion and articu-\\nlation of cadences or feet. 2d, On melody, or the pro-\\nper adjustment of accentual slides, and other musical\\nqualities, to the successive elements and syllables. 3d,\\nOn euphony, or the happy coalescence of those elements\\nand syllables, and the due distribution of quantities to\\new ry element by which the respective syllables and\\nwards are composed, according to their tuneable quali-\\nt or harmonic capabilities; and 4th, On expres-\\nsion, or the due assignment and distribution of the\\nkinds of en. with the proper intonations\\nof pathos, emotion and sentiment.", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0050.jp2"}, "51": {"fulltext": "87\\nThe laws of utterance, as respects the preservation\\nof cadence, are those that should first be understood.\\nMany axioms of practical importance might be laid\\ndown for the regulation of the speaker, as well as the\\nwriter, in this respect. The most indispensable are\\nthe following\\n1. That in reaMing, reciting, or speaking any sen-\\ntence, whether of verse or prose, the enunciation is not\\nto proceed by thesis and pause alone.\\nBe a good boy do not thumb your\\nA- -A.-. A A A. -.A.-, A A.-,\\nbook\\nbut by regular alternations of heavy and light, except\\nwhere there is an interruption by grammatical pause.\\n2. That in reading, or reciting, whether verse or\\nprose, the syllables (such only excepted as are lati-\\ntudinary in their poise, or common in their affection\\neither to thesis or arsis) be not rendered light or hea-\\nvy, at discretion, from any notion of humoring the\\nrhythmus, but be pronounced according to the fixed\\nqualities of such syllables, in graceful- spontaneous ut-\\nterance.\\n3. That the syllables that, either by nature or cus-\\ntom, are absolutely affected to thesis, or heavy, be pro-\\nnounced during the pulsative effort of the larynx and\\nthe syllables which by nature or custom are deter-\\nmined to arsis, or light, be pronounced during the re-\\nmission, or reaction of that organ. In the observance\\nof this rule consists the musical time of speech.\\n4. That the latitudinary monosyllables be pronounc-\\ned either heavy or light, accordingly as the syllables", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0051.jp2"}, "52": {"fulltext": "38\\nwith which they are combined, and the consequent\\nstate of the organs may require.\\n5. T na t the progress of the voice, in the formation\\nof the cadences, whether in reading or speaking, be\\nregularly and perceptibly from heavy to light, with\\nwhatever syllable the line, or the sentence may begin,\\nand not from light to heavy.\\nY(\\nOn\\nairy\\nA\\nsprites who\\nA\\noft as I fancy\\nA A\\ncalls.\\nA\\nthis ac I count 1\\nA A\\nT says\\nA\\nhe to Lo\\nA\\nrenzo\\nA\\nr i\\nhighly es\\ncannot suf\\nA\\nteemed\\nA\\nficiently ad\\nA\\nI friend T\\nmire 1\\nA\\nMari\\nA\\nano\\nA.-,\\nT your\\nA\\nFor, it is most important we should observe, that,\\nthough the alternation is inevitable, the mode of mark-\\ning the cadence is elective for cadences can be divid-\\ned to the ear, as well as to the eye, from light to hea-\\nvy, without inversion of poise, or violation of quanti-\\nties.\\nYe ai 1 ry sprites i who oft\\nA a A\\nas fan I cy calls. t\\nA I A\\nI cani\\nA*\\nOn this I account I says he toLoren I zo I 1\\nA I A I A A I A I\\nnot, c.\\nThe difference in the progress from heavy to light,\\nfrom that of from light to heavy, when orally demon-\\nstrated, will be obvious to every one. One is all im-\\npressive smoothness; the other all abruptness and,\\nharshness. Many satisfactory reasons may be as-", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0052.jp2"}, "53": {"fulltext": "39\\nsigned for this remark. The natural progression of\\nthe organ of voice is pulsation and remission not re-\\nmission and pulsation.\\n6. In all smootli and harmonious utterance, the time\\noccupied by each cadence, in a given sentence, or pas-\\nsage, is to be the same, whether the cadence contain\\none syllable or several but the momentum, in differ-\\nent passages, should vary, according to the sentiment\\nand subject as it may also, occasionally, according\\nto the taste or convenience of the speaker or reader.\\n7. Pauses and Emphases increase the number,\\nbut must not alter the proportion of the Cadences.\\nwho 1 I oft as\\nfancy\\nA\\nDefinitions of the Rhythmus of Verse and Prose*\\n1. Rhythmus consists in an arrangement of ca-\\ndences, or metrical feet, in clauses more or less dis-\\ntinguishable by the ear, and of more or less obvious\\nproportion, in their periods and responses. If a dis-\\ncourse, or paragraph, were to be composed, or deli-\\nvered, without such clausular divisions or responses,\\nthough it were ever so perfect in its metre, it would\\nhave no rhythmus. Rhythmus is to cadences and feet,\\nwhat cadence is to elements and syllables.\\n2. Verse is constituted of a regular succession of\\nlike cadences, or of a limited variety of cadences, di-\\nvided by grammatical pauses, emphases, and csesuree,\\ninto obviously proportioned clauses so as to present\\nsensible responses, at proportioned intervals, to the ear.\\nThe lines of well constructed verse, if the ear of the\\nreader be properly educated, would require no assist-", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0053.jp2"}, "54": {"fulltext": "40\\nance from typographical arrangement and the ear of\\ncritical sensibility frequently detects a very different\\narrangement of actual lines, from that which the ty-\\npography represents to the eye. (See Collins Ode to\\nEvening Southey s Curse of Kehama, c.) A line\\nmay consist of one, two, or three clauses but succes-\\nsions of lines of single clauses, consitute a feeble and\\nbase kind of rhythmus, especially when terminated by\\nrhymes.\\n3. Prose differs from verse, not in the proportion,\\nnor in the individual character of its cadences but\\nin the indiscriminate variety of the feet that occupy\\nthose cadences, and the irregularity of its clausular\\ndivisions. It is composed of all sorts of cadences, ar-\\nranged without attention to obvious rule, and divided\\ninto clauses that have no obviously ascertainable pro-\\nportion, and present no responses to the ear at any le-\\ngitimate or determined intervals. Fragments of all\\nkinds of verse may be introduced into prose, and can-\\nnot well be avoided but a line and a half, or three\\nclauses of any one species of verse, cannot come in\\nsuccession, without destroying the purity of its cha-\\nracter. The following passage, in one of Walter\\nScott s Dissertations, in the Minstrelsy of the Bor-\\nder, was meant for prose.\\nThe mi I nority of I James the\\nA I A\\nfifth 1 pre-\\nI A\\nand I f thro*\\nsents a I melancholy I scene. I Scot\\nA I A I a~^. I A I A\\nall its ex I tent, felt the I truth of the I adage I T that\\nA I A I A I A I A\\nthe I country is I wretched whose I prince is a\\nI A I A I A\\nchild.\\nA", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0054.jp2"}, "55": {"fulltext": "41\\nThe first member of the sentence consists of a com-\\nplicated clause of responding cadences, the most per-\\nfect of all metrical divisions in common measure. Put\\nthe word green in the place of fifth, and the most vul-\\ngar ear will immediately recognize the couplet. The\\nnext member, from the potential accent and suspensive\\npause upon the nominative, presents a complicated\\nclause or couplet of the most perfect of all the rhyth-\\nmical divisions of triple measure.\\nThe mi nority of I James the fifth\\nPre sents a j melancholy scene.\\nScotland\u00e2\u0080\u0094\\nThro all its ex tent, 1 T felt the truth of\\nthe adage\\nu That the country is I wretched I T whose\\nI prince is a I child. I", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0055.jp2"}, "56": {"fulltext": "ESSAY\\nThe general neglect of the science of rhythmus, as\\nexplained, in a summary and elementary manner, in the\\nforegoing pages, has been peculiarly hostile to the im-\\nprovement of our national elocution and has conduced,\\nif I am not mistaken, more than any other circum-\\nstance, whatsoever, to that frequency of impediment\\nwhich prevails amongst us. Have the principles upon\\nwinch the rhythmus of our language depends, been\\neven ascertained by grammarians and professed in-\\nstructors I am compelled to think, speaking gene-\\nrally, that they have not. Indeed, two writers, only,\\nit appears to me, have formed correct notions of the\\nnature and characteristics of a cadence, or English\\nmetrical foot. Those are Joshua Steele and the Rev.\\nMr. Odell. I have been, moreover, greatly indebted\\nto the unpublished lectures of Professor Thelwall, for\\nimportant lights on the subject of this preliminary es-\\nsay. Willi the exception of what I have learned from\\nthose three individuals, I have met with nothing on:\\nthe subject of the delivery of our language which has\\nnot appeared to me more or less defective in theory.\\nThe writings of the two former gentlemen, and the\\npractical lectures of the latter, are eminently calculat-\\ned to add to its reputation as a vehicle of thought and\\nfeeling.\\nThe absolute dependence of rhythmus on the alter-\\nnate recurrence of heavy and light, or as they have\\nbeen erroneously termed, accented and unaccented syl-", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0056.jp2"}, "57": {"fulltext": "43\\ntables, was well known to those great masters of the\\nscience and practice of delivery, the Ancient Greeks:\\nand thp phenomena of cadence are described and de-\\nfined by their Thesis and Arsis. They, however,\\nwere not acquainted with the causes of those pheno-\\nmena.\\nThe true data of the science of delivery, must be\\nsought in the physiological necessities resulting from\\nthe organization of vocal beings. Those necessities\\nconstitute the fundamental causes of the phenomena\\nof Cadence. In what do those necessities consist?\\nIn the inevitable, 1. pulsation, and, remission, of the\\nprimary organ of voice. The heavy poise depends on\\nthe pulsation the light on the remission, of that organ.\\nHence the alternate succession of heavy and light syl-\\nlables or the division of continued speech into ca-\\ndences. Hence, also, the natural progression of the\\nvoice from heavy to light, instead of from light to hea-\\nvy, in continued utterance. The perfect metrical ad-\\njustment of cadences, however, including the rests and\\npauses, requires that the alternation of the primary\\norgan of voice should be rigidly subjected to musical\\ntime. Such an adjustment is necessary to insure the\\napparently incompatible functions of progressive speeck\\nand an undisturbed respiration. It is necessary, there-\\nfore, to force and harmony of delivery. Lectures.\\nAn ignorance of the true causes of cadence, as\\nthey have been here briefly explained, have induced\\nwriters on rhythmus to ascribe to mere election and\\nvoluntary taste, what has its origin in the indis-\\npensable attributes of organic action. It was this ig-\\nnorance which prevented Mr. lioe from perceiving\\nthe necessity of the mensuration of pauses and which\\nled him to deny, that the crotchet and quaver rests.\\nconstitute a r art of i)m elocutionary as well as of the.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0057.jp2"}, "58": {"fulltext": "44\\nmusical bar. He has, accordingly, amused the eye\\nwith cadences of a length which no human organs can\\ntftter to say nothing of the confusion and deformity\\nwhich his theory is calculated, in other respects, to\\nintroduce into the pronunciation of English verse. It\\nis only by a consideration of the necessary pulsation,\\nin the first place, and of the equally necessary alter-\\nnate remission in the second, of the primary organ of\\nvoice, that we can ascertain what constitutes a ca-\\ndence; or one simple measure; and where such simple\\nmeasure begins. But the true nature of a cadence be-\\ning once understood, we cannot fail to apprehend the\\nmetrical proportion of our language nor can we fail\\nto perceive how it happens that persons who speak\\nwith harmony and facility, speak in metrical cadences.\\nIf our conception of a metrical foot be accurate, we\\nshall be able to detect, moreover, the fallacy into\\nwhich those have fallen, who have, hitherto, confound-\\ned poise with quantity or, in other words, the arbi-\\ntrary adjustment of long and short syllables, in Latin\\nscanning, with the inevitable recurrence of thesis\\nand arsis. No person can read Latin intelligibly\\nif he reads as he has been taught to scan but by\\nmeans of a scoring, which accurately marks the peri-\\nodical recurrence of thesis and arsis of heavy and light\\nsyllables, as dependent on the action and reaction of\\nthe organ of voice, not only may every individual read\\nas he scans but, as the scoring will be found, inva-\\nriably, to ascertain the grammatical sense, a deviation\\nin actual delivery from the rule ascertained by that\\nscoring will be found, in the precise degree of such de-\\nviation, to involve the trifold sacrifice of the sense, the\\nharmony, and the undisturbed tenor of the respiration.\\nIf we bear in mind the precise meaning of heavy and\\nlight poise, as distinguished from all other attributes", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0058.jp2"}, "59": {"fulltext": "45\\nof speech, we shall find no difficulty in detecting the\\ndifference between the comment inent of a line, or of\\na passage, and the commencement of a foot: we shall\\nperceive that the speaker or the poet, equally with the\\nmusician, may commence with an initial or imperfect\\nbar and we shall be successful in our attempts to di-\\nvide, into their primitive metrical parts, such passages\\nas are so commenced.\\nNothing is at present more fully ascertained, than\\nthe mathematical proportion of the bars of music the\\ngeneral agreement of integral bars, (in a given tune or\\npassage, J amidst the boundless varieties of parts and\\nfractions, of which those integers are composed. But\\nlet us suppose that one of the fine passages from Han-\\ndel or from Hayd n were presented to us, with every\\npart of its notation complete, except the division into\\nbars, and that we were to proceed, (taking numbers\\ninstead of proportions as the basis of our metrical di-\\nvisions,) to write it into score, and were, unfortunately,\\nto begin from an improper note what would, in that\\ncase, become of the proportion of the bars, as far as\\nrelated to their impression upon the eye? and yet,\\nhow easy would it be to amuse a person ignorant of\\nthe science of sounds, with plausible declamation upon\\nthe want of time and measure in the music of Handel\\nand Hayd n! These observations strictly apply to\\nthose persons who have denied a measure to English\\nspeech, and who have refined, with great apparent\\nprofundity, on the rhythmus and structure of our lan-\\nguage. No wonder it is, that, under such circum-\\nstances, the six proportioned, but varied cadences, that\\nconstitute (in its simplest form) an English heroic line,\\nshould have been reduced, by false theory, into five\\ndis proportioned and incongruous feet; that the mea-\\nsure of harmonious prose should have been peremp-\\nG", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0059.jp2"}, "60": {"fulltext": "46\\ntori ly denied and that even the magnificent, the in-\\nfinitely diversified, but mathematically perfect measure\\nof the immortal Milton, (who never deviates into a\\ndiscord, or neglects a quantity, but when he has some\\nemotion to represent, which would be, marred by the\\nincongruity of harmonic smoothness) should have been\\ntheorised into chaotic disorder and dissonance, by se-\\ncluded critics, who have never learned to scan his\\nverse with their ears, nor to utter it with their oral organs.\\nEut the misfortune, as regards the practical ends of\\ndelivery is, that false theory has led to bad habits of\\nutterance. It is as practicable (however opposed to\\nnature and instinct) to present inverted cadences to the\\near as to the eye. An example of this inversion is\\npresented in the elementary part of this work. This\\nerror, the effects of which are orally demonstrated in\\nthe Lectures, constitutes an impropriety in utterance,\\nwhich often ds, more frequently than any other, the ear\\nof taste and sensibility, in the harsh and laboured elo-\\ncution of artificial speakers. Its effects are percepti-\\nble to all hearers. The detection of its cause lies\\ndeep in the first principles of the science of speech.\\nThe Indication of a division, or mode of progress,\\nfrom heavy to light, from the accented to the unaccent-\\ned syllables, instead of the reverse of this, is in the\\nnatural organic action of the speaker. Its result is\\nforce and harmony. This instinctive progress, from\\nheavy to light, as distinguishable from that of from\\nlight to heavy, it is most essential to comprehend and\\nfeel. The metrical principle, manifested by the first\\nof these movements, applies not only to human speech,\\nbut to the vocal efforts, however limited and imperfect,\\nof all the tribes of voice.* We may announce, there-\\nNote. With the exception of the Duck, which has no alternation, hut mea-\\nsures it- cadencies by heavy poise alone: and the Guinea Hyn? which marks its\\nnote from light to heavy.", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0060.jp2"}, "61": {"fulltext": "47\\nfore, as the first principle and basis of all rhythmical\\ntheory and analysis, and of all instruction for the im-\\nprovement of human utterance and composition, 1. that\\na cadence is a portion of tuneable sound, beginning\\nheavy and ending light: 2. that a perfect foot is a syl-\\nlable, or any number of syllables, not exceeding five,\\noccupying the duration of such cadence: (for we have\\nsingle svllahles that are sometimes susceptible both of\\nthe heavy and light poise, and which, therefore, fill\\nout a cadence by themselves:) 3. that the quantity\\nof every perfect foot, (for a foot may be imperfect, as\\nat the beginning of a clause, or after a caesura, or pro-\\ntracted emphasis) must be measured from the com-\\nmencement of the syllable in thesis or heavy poise that\\nis to say, (however the line may begin) from the pre-\\ncise element on which the change of the organic action\\nis made perceptible to the ear from the light to the hea-\\nvy poise i* that a bar, whether occupied by a perfect\\nor imperfect foot, or by silence, is to correspond in time\\nto every other bar, in a musical sense. I am aware\\nthat it is extremely difficult to render these axioms ful-\\nly comprehensible, without the aid of even patient and\\nrepeated oral demonstration or to put persons in pos-\\nsession of a practical rule of scoring, by which those\\naxioms may be habitually applied, first, in the read-\\ning lesson, and afterwards, in spontaneous delivery.\\nBy means of such a scoring, however, they are sus-\\nceptible both of easy comprehension and application\\nand by an attention to them, it will be found that the\\nrhythmus of our language is one of rigid measure and\\nthat its utterance, conformably to such measure, is\\ncompatible with a forcible and harmonious delivery\\nNote. That change is made manifest, however unconsciously, in all g ood\\nspeaking, hy a slight unintevrupilve rest, and a gentle inflection of the tone of th\u00c2\u00ab\\nvoice of the speaker.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0061.jp2"}, "62": {"fulltext": "48\\nthat, above all, such a delivery will never be found to\\nnecessitate any disturbance to respiration. Lectures.\\nThe truth of the foregoing remarks may be easily\\ndemonstrated. The author could safely engage, to\\ntake any single period smoothly and harmoniously ut-\\ntered in spontaneous speech, to repeat it in the tones\\nof the speaker to beat time to it with complete regu-\\nlarity as he repeated it and then, to write it out into\\nscore, with all the divisions of its respective cadences\\nand to demonstrate the quantities of every foot, and\\nthe measure of every pause, by which those cadences\\nwere occupied. Might he be permitted to add, that\\nan adherence in spontaneous delivery, and in reading,\\nto the scoring which would in such case be instituted,\\nis the only secret by which he has been enabled to\\nread and speak with emphasis many hours every day,\\nwithout injury to lungs highly susceptible, and a con-\\nstitution by no means vigorous.\\nHe ventures moreover to maintain, that where there\\nis no measure, there can be neither smoothness nor\\nharmony for harmony in speech is the combined ef-\\nfect of measure, melody and euphony. But where\\nthere is neither smoothness nor harmony, there is like\\nto be perpetual hesitation and frequent impediment.\\nCommon as these blemishes are, there remain, how-\\never, a sufficient number of good speakers of English,\\nto demonstrate that stammering, cluttering, and hesi-\\ntation, are rather the results of bad habits of delivery,\\nthan of necessities in the language.\\nLet it be once admitted, that our language is a lan-\\nguage susceptible of musical admeasurement, (and the\\nexamples by which these elements are illustrated are\\npractical exhibitions of such admeasurement,) and the\\nstudent may always be directed to read as he scans\\nand scores. The learner, while the system is yet new", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0062.jp2"}, "63": {"fulltext": "49\\nto him, will necessarily be more deliberate and for-\\nmal, than when a due comprehension of the metrical\\nprinciple is attained, and the\u00c2\u00bbhabiis of delivery inci-\\ndent to it are fully formed. He will have to ascend,\\nin due gradation, from the mere abstract to the rhe-\\ntorical rhythmus that is to say, from ihat skeleton\\nrhythmus which recognizes only the mere inherent\\nqualities of the elements and syllables arranged, to\\nthat vital and more authentic rhythmus, which results\\nfrom the mingled considerations of sentiment, pause,\\nand emphasis, and which assigns to each of these its\\njust proportions of measured quantity. But the latter\\nrhythmus differing from the former only in its perfec-\\ntion and expressive beauty, is based on the same sim-\\nple and original principle of measure, founded on t!ie\\nalternate, voluntary action and reaction of the glottis\\nand the pupil is not only to read his Milton and his\\nShakespeare as he would scan them, but is to speak\\nas he would scan, whether addressing a senate, or un-\\nbending in easy pleasantry at the tea-table. Conver-\\nsational rhythmus is, indeed, very different in effect\\nfrom the rhythmus of oratory but it is rhythmus still,\\nand rhythmus dependent upon the metrical propor-\\ntions of cadences a*jd feet. Its proportions are more\\ndifficult of detection than those of the more stately\\nkind the proportions of all prose, more difficult than\\nthose of verse and the proportions of blank verse\\nmore difficult, because more diversified, than those of\\nour heroic couplet but the grace of all utterance must\\nnevertheless depend upon proportion. Therefore the\\nStudent, the Orator, or the Man of the world, who\\nwould improve, the first, the impressiveness of his in-\\nstruction; the second, the energy of his declamation;\\nand the third, the grace and harmony of his conver-\\nsation, will do wisely in cultivating his metrical per-", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0063.jp2"}, "64": {"fulltext": "50\\nception, as applicable to all spoken language. But\\nhe wlio would surmount an impediment of speech, na-\\ntural or acquired, or emancipate himself from other\\ntroublesome and deforming defects of utterance, should\\ncultivate that perception as his only redeeming princi-\\nple he should, especially, aim at a practical precision\\nand harmony of cadence, which might ensure their\\nFull ellects to the noblest effusions of poetry and elo-\\nqu?nr:e.\\nIt is important to remark, that the rhythmus of our\\nlanguage should, first, be studied through the medium\\nof verse; because it is there that it appears in its sim-\\nplest and most perfect state and because the fixed\\nani r determinate arrangement of the syllables and ca-\\ndences enable the teacher to lay down rules which\\nassist in educating the ear while in prose composition\\nit is the ear and the perception alone that can guide\\nthe reader in ascertaining the cadence it being the\\nindispensable characteristic of prose, not only that it\\nshould be perpetually varying in the length of the\\nClauses and the recurrence of emphasis, but that it\\nshould proceed through all the practical varieties of\\ncadence. In the midst of that variety, however, if\\nsmooth and flowing, it will be found susceptible of an\\naccurate notation; and will preserve, subject to such\\nnotation, its metrical proportions.\\nSo obvious and indisputable are the propriety and ad-\\nvantages of commencing the study of elocution through\\nthe medium of verse, that the author does not believe\\nit possible to acquire the art of reading prose with ex-\\npressive harmony through the medium of prose alone\\nwhile, on the contrary, he has never, in a single in-\\nstance, known an individual attain facility in reading\\nour best poets, without being able to read prose, at the\\nsame time, with emphasis and harmony.", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0064.jp2"}, "65": {"fulltext": "51\\nThe order may be\\n1. The couplets of Pope A few simple rules easi-\\nly point out and rivet upon the mind the mechanism\\nof such verses. Those rules teach the ear of the stu-\\ndent where to expect the recurrence of cadence while\\nthe preceptor is teaching him how to form and charac-\\nterize the heavy and light poise; the percussive im\\npulses the protracted and accelerated quantities and\\nthe various inflections, and other tuneable qualities of,\\nwhat is read or spoken.\\n2. The more varied cadences of Dryden s poetry.\\n3. The nervous and eccentric versification of\\nChurchill.\\n4. The poetry of Darwyn, more elaborate and arti-\\nficial in its mechanism.\\n5. The blank verse of Akenside and Thompson.\\nFrom these the pupil will emerge into the true\\npoetic liberty of our Milton and Shakespeare; and\\nthence descend through a series of prose writers. He\\nwill find ample variety in the semiversified periods\\nof Gibbon the insinuating smoothness of Hume and\\nthe conversational playfulness of Goldsmith.\\nIn the student s progress, the passages which consti-\\ntute his reading lessons should be scanned and scored,\\nwith the clausular divisions of pause and emphasis\\nthe csesurae should be marked, where they do, and\\nwhere they do not, increase t]m number of primitive\\ncadences. The distinctions should be accurately de-\\nfined and orally illustrated between a suspensive quan-\\ntity, an interruptive pause, and an accentual close\\ndistinctions, which, if properly attended to, might have\\nprecluded the perplexing contradiction which we meet\\nwith in the reports of the late Mr. Walker and Mr.\\nJephson one of whom affirms that Mr. Garrick did,\\nand the other, that he did not, mark the termination", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0065.jp2"}, "66": {"fulltext": "52\\nof his lines by a perceptible pause. Might not both\\nthese gentlemen mean the same thins;? and did not\\nthis accomplished actor impress the ear with the rhyth-\\nmus of his author, by a delicate management of sus-\\npensive quantity and inflection and thus intimate the\\nrecurrence of his lines, without that palpable and of-\\nfensive hiatus with which some readers and speakers\\nlead the ear, contrary to the sense, to t perpetually re-\\ncurring closes Be this as it may, the distinction is\\nof importance, and will be found applicable in its ef-\\nfect to the clauses of prose, as w ell as to the lines of\\nverse.\\nIf it should be suspected that the mode of instruc-\\ntion, deduced from the elements accompanying this\\nessay, might lead to an artificial and measured formali-\\nty, it may be answered, that such a mode is founded\\nnot on inventive art, but on practical analysis that\\nits direct object is to secure that identical effect which\\nevery graceful speaker, in his happiest moments of\\nharmony and fluency, instinctively attains that a strict\\nanalysis of the inspiring exertions of such moments, in\\na Chatham or a Henry, would elicit the very rules\\nwhich are to secure a successful imitation. In these\\nopinions I am sustained by high authority.\\nIn all these cases, lam very sensible that the utili-\\nty of systematical rules has been called in question by\\nphilosophers of note and that many plausible argu-\\nments in support of their opinion, may be derived from\\nthe small number of individuals who have been regu-\\nlarly trained to eminence in the arts, in comparison of\\nthose who have been guided merely by untutored ge-\\nnius, and the example of their predecessors. But, in\\nall such instances, in which philosophical principles\\nhave failed in producing their intended effect, I will\\nventure to assert that they have done so, either in con-", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0066.jp2"}, "67": {"fulltext": "53\\nsequence of errors which were accidentally blended\\nwith thein or, in consequence of their possessing on-\\nly that slight and partial influence over the genius,\\nwhich enabled them to derange its previously acquired\\nhabits without regulating its operations, upon a sys-\\ntematical plan, with steadiness and efficacy. In all\\nthe arts of life, whether trilling or important, there is\\na certain degree of skill which may be attained by our\\nuntutored powers, aided by imitation and this skill,\\ninstead of being perfected by rules, may, by means\\nof them, be diminished or destroyed, if these rules are\\npartially and imperfectly apprehended or even if they\\nare not so familiarized to the understanding, as to in-\\nfluence its exertions uniformly and habitually. In the\\ncase of a musical performer, who has learned his art\\nmerely by the ear, the first effects of systematical in-\\nstruction a,re, I believe, always unfavorable. The ef-\\nfect is the same of the rules of Elocution. But it\\ndoes not follow from this, that, in either of these arts,\\nrules are useless. It only follows, that, in order to\\nunite ease and grace with correctness, and to preserve\\nthe felicities of original genius, amidst those restraints\\nwhich may give them a useful direction, it is neces-\\nsary that the acquisitions of education should, by long\\nand early habits, be rendered, in some measure, a se-\\ncond nature. (Stewart s Elements of the philosophy\\nof the Human Mind. Introd. page 59, part II. 2.\\nTo these judicious observations it may be added,\\nthat, it is by just rules alone, and their assiduous ap-\\nplication, that erroneous and vicious habits of utter-\\nance can be eradicated and it is to them, especially,\\nas deduced from an analysis of the phenomena of\\nspeech, in the primitive exercise of its organs, that we\\nmust look for the efficacious means of surmounting na-\\ntural defects and impediments. Thus, the same prin-\\nH", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0067.jp2"}, "68": {"fulltext": "54\\nciples to which we are indebted for the ultimate per-\\nfection and polish of accomplished oratory, are those,\\nby which, also, we are to detect and remove the pe-\\nculiarities of the foreigner, communicate the gift of\\nspeech to the mute, and fluency to the convulsive stam-\\nmerer. The intimate connection between correct the-\\nory and successful practice, in the art of elocution, and\\nin other arts also, is well expressed by a poet who\\nused the lines for another object, but who, uncon-\\nsciously, has made them applicable to our immediate\\npurpose\\nTruth and good are one,\\nAnd beauty dwells in them, and they in her,\\nWith like participation.\\nJUcenside Pleasures of Imagination.\\nt\\nThese observations seem to apply, with especial\\nforce, to the management of those great Public Semi-\\nnaries, where the youth of the country are prepared\\nfor the practical exertions of the Ear, the Senate, and\\nthe Church. If there be a Science of Delivery\\nand independently of what we already have in our own\\nlanguage the precious remains of the Greek rheto-\\nricians would prove there is, it is in our Colleges, es-\\npecially, that this science should be exemplified and\\nthoroughly taught.\\nFor Composition, we have abundance of good trea-\\ntises, and are not without excellent examples of writ-\\nten speeches. It is in the exterior manifestations of\\neloquence that we are defective and, it is in the seats\\nof learning only, that a series of principles and rules\\nby which the national elocution may be improved, can\\nbe carried into practical application on an extensive\\nplan. By early tuition, something of the power and", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0068.jp2"}, "69": {"fulltext": "55\\nharmony of ancient delivery might he communicated\\nto English speech, and in happy instances of extraor-\\ndinary genius, that adventurous, hut practical and\\nefficient oratory, might he again manifested, which\\n\u00e2\u0080\u00a2nee shook ihe world.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0069.jp2"}, "70": {"fulltext": "EXAMPLES,\\nPOETIC AND PROSAIC,\\nOF THE\\nIn which that measure is ascertained by the method of\\nscoring explained in these Elements.\\nGRAYS ELEGY\\nIN A COUNTRY CHURCH YAHD.\\n(Reprinted according to the Original Copy. J\\nThe |urfew xoll^ ^he kifell of parting; day\\nThe jlowini herd windf slowly o er the |lea, j\\nThe ploughman homewarq plods his yeary jvay,\\nAndj leaves the world, to cjlarkness and to me.\\nNow fades the ilimmering landscape on the sight,\\nAnd^all the ^irj a solemri stillnesi holds J\\nI Save where the beetle wheels his ^Ironing flight,\\nAnd drowsy tinkling^ lull the distant! folds 1 1\\nSave thai from] yondei; ivy mantled tower,\\nThe niopink owl! does to the moon complain,\\nOf puch as wandering near her, secretjbower,|\\nMolest her ancient solitary reign.\\nBeneath those rugged elms that yew-trees ishade,\\nWhere heaves the turf in many a mouldering heap,\\nEach in his narrow! celljfoij ever (laid^\\nThe rude) forefathers of the Jkamletj sleep.", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0070.jp2"}, "71": {"fulltext": "57\\nThe lireezy ^all off incense-breath mi morn.\\nThe sfwallow |t\\\\viUerii)j- from tl ie sjtraw-builtj shed,|\\nThe jock s shriil clario{i or the. |*ch6iag jhorn,(\\nNo oiore shall| rouse theifi from theiij lowly (bed. I\\nFor^ themj no i^ior^ the j)lazin\u00c2\u00a3 hearth shaljl burn.,\\nOr llusy Ihousewify [)ly heij evening care;|\\nNo children run| to jisp thei^ sire s return,\\n\\\\Or\\\\ climb his kneesj the \\\\envy d\\\\ kiss to^hare\\\\\\\\\\\\\\nOft did the^iarveslS| to theiif sickle yield\\nA A A A\\nTheir burrow ofij the stubborn! gleb^e has l^roke\\n^Howjjocundidid they Iflrive theij team airfield I|\\nHow llow d the jwoodsj be^eatlj thehj sturdy s[roke\\nLet not Ambition mock theiij useful] toil,\\nTheirl homely Jioyd and ilestiny ollscure\\nNor prandeui* hear with a disdainful! smile,|\\nThe short anq simplje annalls of the jioor\\nThe lioast o^ heraldryL the jiomp ofj powerj\\nAna all that beauty^ |ill thaij wealth* e eij gave,\\nA\\\\^ait atike^j the inevitable hour :j\\n\\\\The ^aths oi| glory^lead|but to the irave.j\\nNoi| youl ye Proud]! impute to these the fault]\\nIf JVIemoryj o er theii] tomlj no trophies taiseJ\\nWhere, thro the Long-drawA aisle! amllfrettejl vault,\\nThe iealini antheiji swells the Aote of praise.)\\nCan) storiejl urn, oif animate^ bust,|\\nBack to its ^nansioif call the jleetea breath ?j~\\n[Can jHonorj s voici pro\\\\|oke the ^ilentj dust,f\\nOr JFlatterj( sootn, the [lull, |coldj ear of death", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0071.jp2"}, "72": {"fulltext": "58\\nPcrfyapsi in |his neglected jspot/ is \u00c2\u00a3aid\\nSomeiheart jonce riregnaiit with celestial jfere j\\nHandjs that the rud oij empire jinight have! sway dj\\nOr jwaked to 1pcstacy| the livini lyre^ J\\nBu^ knowledjge to l|heirj eyesj heij ampljj page,/\\nRich with the (spoils oij Time], diclj ne er unroll\\nChill Penury) repressed theiij nobli rage\\nAnd] froze the jgeniaj curreilt of the ioul. J\\nFull rjiany a iem of purest ray sejfene\\nThe ^larli {m|athom o| caves o\u00c2\u00a3 ocean| bear\\nFull T^iany a jloweij is porn* to blush uujseen\\nAndj waste its ^weetnessj on the jlesertj air.) j\\nSome village HampdenL that witlj dauntless preast,\\nThe little Jlyrant of his jfields| withstood j\\nSome ijjmte inAloriousj Milton), here may |rest,/\\nSome fcrom well giiiltlesjs of hisicountry s ^lood./ j j\\nThe apiblause of listening s6nate\u00c2\u00a3 to conlmand,4-\\nThej threats ox pain and] ruin| to despise,/ j\\nTo ^catter/plent;^ o er a sailing land J\\nAntlJ read their) history) in a ljationfs eyes,\\nTheir /lot forbade I: nor jfeircu inscribed, ajlonc^\\nTheir iro wind virtuosi but then/ crimes confined f\\nFoijl)ade to (wade thro /slaughteJ to a throne J\\nAnd] shut the iates oif mercy I on maijkind ;J\\nThe s^ruggliiik pangs oj conscious jtrnth to Ifidc fj\\nTo Vjiiench the pjlushei of idgeniiousjshame\\nOr|heap thejslirii^e of Luxury anq Pride]\\nW\\\\t\\\\\\\\ incensje kindljed at the JMuse sj flame l\\\\\\\\\\\\", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0072.jp2"}, "73": {"fulltext": "59\\nYej, eveij these ^onc. j fioral insviltj to project;\\nHome trail mentor ia]| still, eifecf ed^ nighi\\nWitty uniouth }*hyme^ and] shapeless ^culplurtj\\ndeck d,\\nImplores the jbassinfc tribute of a gh. j\\nTheir ^laraesL theiif years, ^pelt by the un^etter d\\nMuseJ\\nThe jtlace of fame an^l eleg^ supbly t\\n(Aii(]| many a (holy Itextt abound she strews\u00e2\u0080\u0094 j-\\nThat (teach the] rustic tnoralisij to tiie.j\\nFor) wliOjj to (lumb forietfulness a ]j)reyJ\\nThis bleasingi anxious; beingj e er rekign d,|\\nLett the Warm jprecinct^ of the theerfulj day,J\\n[Nor bast lone longing! lingering look behind? j 1\\nOn| some ibn(\u00c2\u00ab breasi| the bartingj soul rdlies i\\niSome biousj drop^ the Alosingl eye reqjuires ;J\\nJEven from theltombL the ^oice of] Nature ^ries,j\\nEven in ouijashesL live their |vvontedJ fires.\\nFor [thee, who, jnindfulj of the uhhonour jl dead,|\\nDost in these jlines^ thehj artless ]tale reflate^\\nBy ^hance ancj lonely ^ontemlplatior led,!\\nTo ivande^ in the bloomy (walks o| fate\\nHarlj: If ow the \u00c2\u00a3acre calnj thati breathes alround,\\nBid^ every |(ierce tumultuous (passion] cease\\n(In jstill, jsmallj accenijs whispering from the ground\\nA irateful| earnest of c|ternal[ peace I\\nNo jnore, with) Natuije and thylself at| strife,\\nGiv(p anxious tares anjl endless! wishes toom^\\nBut thro thejcoo| seiuester vale oi] life)\\nPuijsue the ijoiselesi teno^ of thy ^oom.", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0073.jp2"}, "74": {"fulltext": "60\\nSPEECH OF HENRY V. BEFORE 1MRFLEUR.\\nShakespeare.\\nOnceinore unto the l^lreachj, clear JFriend^! jfmce ]nore;j-j\\nOr /close the ivall upf with ou^ English klead.l\\nIij peaceL tlieije s nothinlg so becomes a tnan\\nAs ^iodesjf stillues^ and hujnility;/\\nBut, when thelblast oif waij Jdows in ou^f ears,j\\nTh n| imitate the ^ction of the jtyger;\\nten the iinew^! jsummoii up the jjlood!j\\nDisiuise JEair jaaturel with tharci-favourjl rage:|\\nThen fend the jeyel a jterrible |aspect;|\\nII et it jtry |hrough the portage of the iteadj\\nLike the Wass ^annoii; let the |brow o eijwhelm it.J\\nAs fearful!^ as doth a balledl rock\\nO erluuig andljuttyl his codlfoimdedl baseJ\\nIS will d with thej wild) and Ifvasiefulj ocean.;\\nNow tet the ifeethj andfetretcn, the Aostrii wide i\\nEoldj hard the jbreatbL and |bendj up |every (spirit\\nTo hisj full l ]heighlj! (On, (on, {you fioWe 1 English!\\nWhose ^jlood is ^et from (fathers oif war [jroof;|\\nFathers] ithatjlikej so manyj Alexanders,)\\nHave, in these harts! from Inorn ^tilJL even (fought\\nAnd feheath d theiij swordi for lack of (argument./\\nDishonor not your jmothersjl pNow aljtest^\\nThat jliose whom you jcall d fathers/ did be et you\\nBe fcopy |iowJto men of grosser ijlood,/\\nAnd (teach themlhow tojwar!\\nAndjyou, fcood Veomen\\nWhose jimhs weri madej in England! shew usfliere J\\nThe jnettle of youij pasture!. Let us Iswear I\\nThat you are kvorth youi) breeding!: [which I jloubt not;/\\nFor there is |ione of you! so inean and! base,/\\nThat jhath not (noble lustre inyomj eyes, j", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0074.jp2"}, "75": {"fulltext": "61\\nI i|;ee vou ijtantty like (greyhounds |in the (dips,/\\nStraining upon the ^tart.\\nThe iame s afoot./ j\\nFollow your ^piril/; and upon this charge,\\nOr^God forfHarrj/! (England/ and |feaint George!!/\\nBURKE S APOSTROPHE\\nTO\\nTHE QUEEN OF FRANCE.\\nIt is ^iow /sixteen or /seventeen/ years (since I jsaw\\nthe) Queen oijf France ,1 then the JDauphines^, at Ver^\\nsaillesj; ^ind purely (never (lighted on this /orty which\\nshejhardly \u00c2\u00a3eenied to (touch/, a ^nore delightful vision./ j\\nI Isaw hei) just allove the hofizonL [decorating and|\\ncheering the (elevated ipherej she [just bejgan to inove\\ninfe klitte rind like thejmornini star/; (full of (life,| and\\niplendoui/, andljoy!/\\nOh! (what a Revolution]! (and ^vhat a /heart /must 1/\\nhave to /contemplat^, wit|iout eifiotiori, thati elevktion\\nand J that [fall!\\nLittle did I|dream| that jvhen shej added titles of ^e-\\nnej*ation| to (those of enthusiastic), distant, I resdectful]\\nlovd, that she should] ever be obliged to ^arry the \u00c2\u00a3harp\\nantidotrf against disgrace] condealed in (that /bosom!/\\nLittle did Ijdrean^that I should havej lived to /see \u00c2\u00a3uch\\ndisasW^ fallen u^on her j in a Ration of iallanl/ men,/\\nin a pation of ^nen of (honor I and of Jcavaliersj I\\nthought (ten jthousant^ sword^ must have leaped from\\ntheir Iscabbardi to avenge feven a jlookl that) threatened!\\nher with (insult. I", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0075.jp2"}, "76": {"fulltext": "But the (age of |cliivalryj is done;: that of iophister*!\\neconomists and Aalculatorsl has succeeded!; Wl the\\ni;lory of Europe) is extinguished foil eveif. Never]\\nnever (morel shall we bejhold (that ienerous (loyalty) to\\ntank and iexl that jlroud submission)! (that jlignified\\nobedience)! that subordination of thej heartf. which\\n[kept ^liveJ even in (servitude illself, (the ^pirit^ of an ex-\\nalted, freedom)! 1 1 The hnboughtl grace ofjlifej! the \u00c2\u00a3heap\\ndefence of Nations)! jthe ijurse of manly |entimeni{ and\\nhdroic jbnterprizi is ionej! It is gone,\u00e2\u0080\u0094 j-that/sensillility\\nof principle)! [that (chastity oijfhonorf! |which|felt a itain/\\nlike ajwoundj; jvvhich inspired iourage ivhilst it ^liti-\\ngated fefocityl; (which ennobled) whaijever it touched!: I\\nand]under jwhichfvice itself lost half itslevill by (losing I\\nall its fcrossness.\\nTHE END.", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0076.jp2"}, "77": {"fulltext": "", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0077.jp2"}, "78": {"fulltext": "", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0078.jp2"}, "79": {"fulltext": "", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0079.jp2"}, "80": {"fulltext": "", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0080.jp2"}, "81": {"fulltext": "", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0081.jp2"}, "82": {"fulltext": "", "height": "3984", "width": "2261", "jp2-path": "elementaryanalys00barb_0082.jp2"}, "83": {"fulltext": "", "height": "4108", "width": "2378", "jp2-path": "elementaryanalys00barb_0083.jp2"}, "84": {"fulltext": "s*", "height": "4459", "width": "2650", "jp2-path": "elementaryanalys00barb_0084.jp2"}, "85": {"fulltext": "Hollinger Corp.\\npH 8.5", "height": "4459", "width": "2650", "jp2-path": "elementaryanalys00barb_0085.jp2"}, "86": {"fulltext": "LIBRARY OF CONGRESS\\n027 249 621 3\\nHollinger Corp.\\npH8.5", "height": "4523", "width": "3302", "jp2-path": "elementaryanalys00barb_0086.jp2"}}